Picturin
hildhood
Illustrated Childrens Books from University of California Collections, 1550-1990
Picturing Childhood
The publication of this
catalogue was made
possible by a grant
from Lloyd E. Cotseti
LL t-illl
MSM^iS^Ags^
Ti^sLQvjtxli/ il^WcA^\^ (lt(yrff<j Gvu^KiKiwUCc,
Major support for the
exhibition was provided by the
National Endowment for the Arts,
a federal agency; Northern Trust
Bank of California; and
the Good Works Foundation
Picturin
hildhood
Illustrated Childrens Books from University of California Collections, 1550-1990
Grunwald Center for the Graphic Arts
Department of Special Collections, University Research Library
University of California, Los Angeles
This catalogue was published in conjunction
with an exhibition held at UCLA at
the Armand Hammer Museum of Art and
Cultural Center, Los Angeles,
April 16 through June 29, 1997.
Published by the Grunwald Center for
the Graphic Arts and the Department of
Special Collections at the LIniversity Research
Library, UCLA.
Copyright (9 1997 by the Regents of the
Universitv of California. AH rights reserved.
ISBN 0-9628162-6-4
Editor: Karen Jacobson
Designer: LiUi Colton
Photography: Robert Wedemeyer, except tor
pp. 1, 49, 55, by Lou Meluso
Exhibition design (see photos, pp. 6, 8, 62):
Mitchell Browning
Time line design (see photo, p. 60):
Deborah Edwards
Front cover: Walter Crane, illustration tor
Beauty and the Beast, 1874 (cat. no. 326)
Inside front cover: Gustave Dore, Puss in Boots,
from Fairy Realm, by Tom Hood, 1865 (cat.
no. 177) '
Page 1: Kay Nielsen, Scheherazade Telling the
Tales, from One Thousand and One Nights,
1918-22 (cat. no. 415)
Title page: George Cruikshank, illustration
from Cinderella, 1854 (cat. no. 168); Howard
Pyle, illustrated initial from The Wonder Clock,
1888(cat. no. 392)
Back cover: Harold B. Lentz, The Pop-Up
Mother Goose, 1933 (cat. no. 197)
Reproduction Credits
Fig. 26: Reproduced with the permission of
Simon & Schuster Books for Young Readers,
an imprint of Simon & Schuster Children's
Publishing Division.
Contents
David Rodes, Gloria Wertier 7 Foreword
Cynthia Biirlinghi
am
9 Introduction and Acknowledgments
Cynthia Barlinghaiii 11 Picturing Childhood: The Evolution
of the Illustrated Children's Book
with a Checklist of the Exhibition
13 Establishing Traditions
19 PubUshing for Children
29 Movable and Pop-up Books, Toys, and Games
37 Nineteenth-Century Illustrators
49 The Twentieth Century
63 Selected Bibliography
J
pn f^
V •
The subject of Picturmg Childhood hnn^ifi together the intellectual and collect- 'FVkfP'VlT'O'rri
ing interests of ucla's world-renowned research library and its distinguished col-
lection of works of art on paper, the Grunwald Center for the Graphic Arts. This
exhibition and catalogue celebrate not only the remarkable collection of children's
materials in the library's Department of Special Collections but also the foresight
of such UCLA librarians as Wilbur Jordan Smith, F. Brooke Whiting, and James
Davis, who began building this collection long before the subject of childhood
became a central issue for both the academy and society. Picturing Childhood also
attests to the Grunwald Center's steadfast interest in the intricate interrelation-
ships among words and images and art and technology.
Two matters become increasingly clear as we reflect on the wondrous vari-
ety of objects in the exhibition. The first is that childhood, as we now think of that
period between infancy and adulthood, is an invention of the eighteenth century
in those very few countries of Western Europe that could afford leisure and were
dedicated to creating and confirming a middle-class elite. The intensity of focus
on this new "species" reached its apogee in the explosion of splendid illustrated
books in late Victorian England. The second issue raised concerns the profound
paradox of purpose that characterizes the meaning of children's books, toys, and
games. Children's literature has its roots deeply planted in conservative moral teach-
ing, and its goal is socidization and, often, conformity to prevailing ideology. Yet
one has only to look at many of the exquisite books shown here — from John Amos
Comenius's Orbis Sensiialium Pictiis of 1658 to those of Beatrix Potter, Arthur Rack-
ham, and Dr. Seuss in the present century — to know that the other great function
of children's books involves the stimulation and liberation of the imagination. Surely,
more than any other form of literature and art, illustrated children's books can be
said to respond to the flindamental duality of purpose ascribed to the arts of the
Western world: to teach and to delight — docere et dekctare. We trust that readers
of this catalogue and viewers of the exhibition may share in both the learning and
the pleasure that so characterize the subject.
We want to thank the three curators of the exhibition, Cynthia Burling-
ham and Karen Mayers of the Grunwald Center and Patricia Waldron, for their
imaginative response to a burgeoning field of study and an immense archive of
materials. We ;ilso thank Director Peter Reill and Librarian Bruce Whiteman of
the William Andrews Clark Memorial Library, ucla, and University Librarian
Gerald Lowell and Head of the Department of Special Collections Lynda Claassen
of the Geisel Library of the University of California, San Diego. Major support
for the exhibition was provided by the National Endowment for the Arts, a fed-
eral agency; Northern Trust Bank of California; Classical 105.1 kkgo-fm; and the
Good Works Foundation. Additional support was provided by the Frances and
Sidney Brody Charitable Fund; Peter and Elizabeth Goulds and L.A. Louver
Gallery, Venice, California; Mary and Bob Looker; and Susan Payne.
We wish to acknowledge with gratitude the support of Lloyd Cotsen,
himself a wise collector of this material and longtime supporter of children's edu-
cation, who made possible the publication of this catalogue, as well as Dr. and Mrs.
Albert Nichols, whose generosity made it possible for us to document the e.xhibi-
tion in an archival video produced by ucla's Office of Instructional Development.
Finally, we want to thank all those children, whether in their first or later child-
hoods, who responded to the exhibition with the joy that we believe is inherent in
the subject of Picturing Childhood.
David Rodes, Director
Grunwald Center for the Graphic Arts
Gloria Werner, University Librarian
i
^ 4.
,, . %j'
J
\
This exhibition features more than tour centuries of illustrated books,
drawings, movable and pop-up books, toys, and games from selected Univer-
sity of California collections. The great majority were chosen from the more
than twenty-five thousand works in the Children's Book Collection in the
Department of Special Collections at the University Research Library, ucla,
one of the most significant holdings of children's books in the United States.
Additional works were selected from ucla's Grunwald Center tor the Graphic
Arts; the William Andrews Clark Memorial Library, ucla; and the Dr. Seuss
Collection at the Mandeville Special Collections Library, Geisel Library, Uni-
versity of California, San Diego. Together these ct)llections provide insight into
a number of issues relevant to the history of children's literature, including how
society's changing conceptions of childhood shaped the genre of children's books;
the increasing importance of illustration; the nature of collaboration between
the writer and the artist-illustrator; and the persistence of traditional stories
interpreted variously at different times and by different cultures.
This exhibition and catalogue are the result of the contributions of a
number of individuals in a variety of departments and institutions over the past
two years. First and foremost, this project could not have been realized with-
out the enormous dedication of Karen Mayers and Patricia Waldron. As my
cocurators for this exhibition, they spent many months researching the collec-
tions to select the works exhibited here and are responsible tor much of the
exhibition's direction and substance.
At the UCLA/Hammer Museum, Mitchell Browning's extraordinary
installation and case designs created an innovative and visually stimulating
setting for the variety of works in the exhibition. Deborah Edwards's time line
enhanced visitors' understanding of the history of the works presented. Lynne
Blaikie and Maureen McGee prepared and cared tor the objects in the exhibi-
tion with their usual high standards, and Andrea Bronte, Heather Cantrell,
Louis Fuller, Jules Hartzell, and Jon Pestoni were ot invaluable assistance
during the installation. Anne Bennett managed all registrarial aspects of the
exhibition with great care, and Claudine Dbcon lent her research skills to both
the exhibition and the catalogue. Cindi Dale, director ot education, devised the
exceptional educational programming for the exhibition. I also wish to recog-
nize the efforts of other museum staff, particularly Amy Weinstein, Kelly White,
Stephanie Rieke, Bryan Coopersmith, Patricia Capps, Layna White, and
Marpessa Dawn Outlaw. Greg Barnes at the Office of Instructional Develop-
ment at UCLA created the wonderfiil videos that accompanied the exhibition.
At the University Research Library at ucla, former Head of the Depart-
ment of Special Collections David Zeidberg was helpful in the initial plan-
ning stages, and the present Head, Susan M. AHen, has been extremely responsive
and supportive. Also at Special Collections, Octavio Olvera provided invalu-
able support. I am also grateful for the efforts of Brian Schottlaender, James
Davis, Jeff Rankin, Charlotte Brown, Russell Johnson, Ehzabeth Stacey, and
Sarah Lesser. Richard Lindemann and Steve Coy at the Mandeville Special
Collections Library at UC San Diego also deserve thanks.
For the catalogue, editor Karen Jacobson has worked with her usual care
and thoroughness in the face of unusually tight deadlines. Designer LUli Cotton's
enthusiasm for the subject of this exhibition and catalogue is evident in this vol-
ume; she has provided a handsome and engaging context tor the works presented.
The publication of this catalogue would not have been possible with-
out the support of Lloyd Cotsen, whose interest and generosity are greatly
appreciated by all those involved in the arts and education. Finally, I wish to
thank my son, Robert, who provided the original inspiration for my exploration
of this subject and who remains a constant reminder ot its importance.
Introduction
and
Acknowledgments
Cynthia Burlingham, Associate Director and Senior Curator
Grunwald Center for the Graphic Arts
Fig. 1 Anonymous artist, Orbis Semualium Ptctus
(The visible world in pictures), by John Amos
Comenius, 1659 (cat. no. 5).
Picturing Childhood
The Evolution of the Illustrated Children's Book
Cynthia Burlingham
Fig. 2 Walter Crane, illustration from The Alphabet
ofOUFrlendi, 1874 (cat. no. 69).
hildrcn's literature emerged as a distiiut and iiulepeiident genre only
a little more than two centuries ago. Prior to the mid-eighteenth cen-
tury books were rarely created specifically tor children, and children's
reading was generally confined to literature intended tor their educa-
tion and moral edification rather than tor their amusement. Religious works (see
cat. nos. 7, 8, 14), grammar books, and "courtesy books" (which offered instruction
on proper behavior) were virtually the only early books directed at children. In these
books illustration played a relatively minor role, usually consisting of small wood-
cut vignettes or engraved frontispieces created by anonymous illustrators.
Still, some exceptional works were published in the sixteenth and seven-
teenth centuries, which served as precedents for later genres of children's Hterature.
An early example of a book devoted to children's games is the 1657 Lesjeux et
plaisirs de Venfamc (The games and pleasures of childhood; fig. 4, cat. no. 4). Pro-
duced for and dedicated to children, it is notable not only tor its subject but also
for its numerous engravings after artist Jacques Stella. Still, the unnatural attitudes
of the children's bodies are indicative of the contemporary conception of children
as miniature adults.'
Another important precursor was John Amos Comenius's Orbh Sensiia!-
ium Piaiis (The visible world in pictures, 1658). An encyclopedic assemblage of
captioned illustrations of the natural world, it is regarded as the first picture book
for children. Comenius was an educational reformer, and his book was also inno-
vative in its recognition that there are fiindamental differences between children
and adults. A forerunner of the illustrated schoolbook, it remained popular in
Europe for two centuries and was published in numerous languages and editions
(see fig. 1; cat. nos. 5, 6, 11, 13).
Alphabet books exemphty one of the earhest uses of pictures in instruc-
tional books for children (see fig. 2; cat. nos. 33-77). From the sixteenth until well
into the eighteenth century children learned their alphabets by studying horn-
books (see cat. nos. 33, 38, 39, 50), wooden paddles with inscribed alphabets that
were often combined with religious writings such as the Lord's Prayer. Out ot the
hornbook tradition developed the more pictorial battledore (see cat. nos. 41, 45,
47, 54, 56, 58, 59), a folded piece of cardboard with an illustrated alphabet, named
after a traditional game in which hornbooks were used as paddles. The battledore
endured until the mid-nineteenth century. By the early nineteenth century other
types of games with illustrations were developed tor teaching ABCs as well as math,
grammar, and science (see fig. 3).
Establishing
Traditions
Fig. 3 Alphabet of carved leners in can'ed ivon,'
box, c. 1800 (cat. no. 35).
13
One ot the most enduring genres oi fiction, fables (see cat. nos. 15-32)
were initiaUy read in Latin in the classroom rather than for amusement at home.
The stories attributed to Aesop (supposedly a Greek storyteller of the sixth cen-
tury B.C. but almost certainly a legendary figure) were among the most frequently
published and illustrated (see figs. 5, b). Aesop's Fables -wis published in its first Eng-
lish translation by William Caxton (c. 1422-91) in 1484. It soon became one of
the most popular illustrated books for children, though in many early editions there
was little attempt to adapt the stories to make them easier for children to under-
stand and relate to.^
Checklist of the Exhibition
Unless otherwise noted, works are from the
collection of the Department of Special
Collections at the University Research Library,
UCLA. Measurements are given in inches and
centimeters; for books, height is given; for
drawings and three-dimensional objects,
measurements are given in the following order:
height, width, depth.
Establishing Traditions
/ t C I LUBllt.
A. I'aif' Uttt'j Soitl'tv.tiitttJ hotifftmj l^eitrs corps est pourtiint hien drrjse
^ttt ne Jinitf tjiif ces Poiipotu St, Seioit uui Jit Pvthinfoiv ,
aurouni tfon hcsotn d'^iiehore , ['iiofnint est X'ti arhrt rtrtrtrs/
I*
Fig. 4 Jacques Stella, illustration from Lc-s jeux et
ptahirs de I'eTifame (The games and pleasures of
childhood), 1657 (cat. no. 4).
Anonymous artist
De Modo Co//egiandi, by Federicus
Chrysogonus, 1528
Published by Giovanni Antonio Nicolini da
Sabbio, Venice
12 in. (30.5 cm)
Anonymous artist
The Elements of Geometric, by Euclid, 1570
Published bv L Daye, London
13 in. (33 cm)
Collection of the William Andrews Clark
Memorial Librarv, UCLA
Anonymous artist
Cosmographta, by Petrus Apianus, 1584
Published by Joannes Bellerum, Antwerp
10 in. (25.4 cm)
Jacques SteUa (French, 1596-1657)
Lesjeux etplaisin de Venfance (The games and
pleasures of childhood), 1657
Published by Galleries du Louvtc, Paris
8'/4 in. (21 cm)
Fig. 4
Anonymous artist
Orbh Sensuahum Pktus (The visible world in
pictures), by John Amos Comenius, 1659
Published by Michael Endteri, Nuremberg
6'/4 in. (15.9 cm)
Fig.l
Anonymous artist
Orbis Sensualium Picttis (The visible world in
pictures), by John Amos Comenius, 1672
Published by T. R. for S. Mearne, London
6V4 in. (15.9 cm)
Collection of the William Andrews Clark
Memorial Llbrar\-, UCLA
14
Anonymous artist
Pilgrim's Progress, by John Bunyan, 1685
Published by Nathaniel Ponder, London
6 in. (15.2 cm)
Collection of the William ^Ajidrews Clark
Memorial Librarv, L^CLA
Anonymous artist
TheBihU: 1721
Published by Thomas Hive, London
2'/4 in. (6.4 cm)
17
John Bickham
Fiihln iind Other Short Poems. 1731
Published by Thomas Cobb, London
8 in. (20..3 cm)
Anonymous artist
/ItAii Minimus, bv James Gibson, 175S
Published by John Newbery, London
A% in. (12 cm)
10
Anonymous artist
A View of the Earth, by the Reverend Mr.
Turner, 1766
Published by S. Crowder, London
12'/4in. (31.1 cm)
11
Anonymous artist
Neuer Orhis Pic/us (The new world in pictures),
by John Amos Comenius, 1785
Published by Georg Emanuel Beer, Leipzig
8V2 in. (21.6 cm)
12
Anonymous artist
TheHerschel Weather Table, c. 1800
5W in. (14 cm)
13
Anonymous artist
Orhis Sensualium Pictus (The visible world in
pictures), by John Amos Comenius, 1810
Published byT. and J. Swords, New York
6% in. (17.1cm)
14
Anonymous artist
The Chilcfs Bible, \%3,4
Published by Truman, Smith and Co.,
Cincinnati
21/4 in. (5.7 cm)
Fables
15
Anonymous artist
Fabulae Centum, by Gabriel Faernus, 1564
Published by Vincenzo Luchino, Rome
VA in. (22.2 cm)
Fig. 5
16
Francis Barlow (British, 1626?-1704)
Les fables d'Esope (Aesop's fables), 1714
Published by Etienne Roger, Amsterdam
10 in. (25.4 cm)
Collection of the William Andrews Clark
Memorial Library, UCLA
18
Anonymous artist
Le «.™,v/ (Reynard the fox), 1739
PubUshcd by Jacques Panneels and Charles de
Vos, Brussels
8 in. (20.3 cm)
19
Samuel Croxall (British, d. 1752)
Fables of Aesop, 1782
Published by W. Strahan et al., London
6% in. (17.1 cm)
20
Anonymous artist (after Francis Barlow,
1626?-1704)
Les fables d'Esope (Aesop's fables), 2 vols., 1801
Published by Henri Tardieu, Paris
5 in. (12.7 cm)
21
Anonymous artist
Fables Ancient and Modern, 2 vols., by Edward
Baldwm, 1805
PubHshed by Thomas Hodgkins, London
6y4 in. (15.9 cm)
22
Thomas Bewick (British, 1753-1828)
The Fables of Aesop, 1818
Published by E. Walker, Newcastle
10>4 in. (26 cm)
23
J.J. Grandville (French, 1803-47)
Wood engraving block for The Eagle, the Sow,
and the Cat, trom The Fables of La Fontaine,
1838
3'/2 X 4y4 X 1 m. (8.9 X 10.8 x 2.5 cm)
24
Anonymous artist
Revnard the Fox, 1840
PubHshed by Joseph Cund^dl, London
43/4 in. (12 cm)
25
John Tenniel (Bridsh, 1820-1914)
Aesop's Fables, 1848
Published by John Murray, London
8'/2 in. (21.6 cm)
26
Ernest Griset (French, 1844-1907)
Aesop's Fables, 1876
Published by Lothrop, Boston
9'/2 in. (24.1 cm)
3333:^
tAN APE ANdP"^
A DOLPHIN I
Fig. 5 .Anon\-mous artist, illustration from Fabulae
Centum, by Gabriel Faernus, 1564 (cat. no. 15).
Fig. 6 Stephen Gooden, illustration trom Aesop's
Fables. 1936 (cat. no. 31).
15
27
Alexander Calder (American, 1898-1976)
Fiihles of Aesop, according to Sir Roger
L'Estrange, 1931
Published by Harrison, Paris; Minton, Balch
and Co., New York
10'/4 in. (26 cm)
28
Stephen Gooden (British, 1892-1955)
The Fabki of La Fontaine, vol. 2, 1931
Published by William Heinemann, London;
Random House, New Yorlc
10'/2 in. (26.7 cm)
29
Stephen Gooden (British. 1892-1955)
Wolf and KUi, itom Aesofi Fables, 1936
Engraving
Published by George C. Harrap, London
6'/4x4'/2in.(15.9xll.4cm)
30
Stephen Gooden (British, 1892-1955)
A City and Country Mouse, from Aesop's Fables,
1936
Engraving
Published by George C. Harrap, London
6V4x4V2 in. (15.9x11.4 cm)
31
Stephen Gooden (British. 1892-1955)
Aesop's Fables, 1936
Published by George C. Harrap, London
10»/^ in. (26.7 cm)
Fig. 6
32
Antonio Fr.\sconi (American, b. 1919)
Twelve Fables of Aesop, bv Glenwav Wescott,
1954
Published by the Museum of Modern .Art,
New York
8W in. (21.6 cm)
Alphabet Books
33
Hornbook. English, c. 1796
Wood
bV4 in. (15.9 cm)
34
ABC blocks, nineteenth century
Box: 7>4 X \OVi x 2^/i in. (18.4 x 26 x 6.3 cm)
Blocks: l'/2 x 11/2 X iy2 in. (3.8 x 3.8 x 3.8 cm) each
35
Alphabet ot carved letters in carved ivory box,
English, c. 1800
Ivory
Box: 2y4 X 4 X 1 '4 in. (7 x 10.2 x 4.4 cm)
Letters: ^2 x '/2 in. (1.3 x 1.3 cm) each (approx.)
Fig. 3
36
Alphabet of carved letters in Chinese lacquer
box, English, c. 1800
Ivory (some letters painted red and green)
Box: h: 1% in. (4.4 cm); diam: 3 in. (7.6 cm)
Letters: Vt x Vt in. (1.9 x 1.9 cm) each (approx.)
37
Cards for teaching grammar, in Japanese
lacquer wooden box, c. 1800
Box: h: VA in. (8.3 cm); diam: 3Vi in. (8.9 cm)
Cards: diam: 2 in. (5.1 cm) each
38
Hornbook. EngUsh, c. 1800
Wood
4i6 in. (11.4 cm)
39
Hornbook, English, c. 1800
Wood
4Vi in. (11.4 cm)
40
Movable alphabet, c. 1800
Wood
H: 8 in. (20.3 cm); diam: VA in. (3.2 cm)
41
Anonymous artist
Battledore, early nineteenth century
6 in. (15.2 cm)
42
Anonymous artist
The Favorite Alphabet for the Nursery,
nineteenth century
Published by Yates, London
11 in. (27.9 cm)
43
Anonymous artist
My Darlings ABC, 1800
3V4 in. (8.9 cm)
44
Anonymous artist
People of All Nations: A Useful Toy for Girl or
Boy, 1800
Published by Darton and Har\'ev'. London
2 in. (5.1 cm)
45
Anonymous artist
The Royal Battledore, 1800
Published by R. Elliott, Hereford
5'/4 in. (13.3 cm) (8'/4 in. [21 cm] extended)
46
Anonymous artist
The Tragical Death of an Apple Pie, 1800
Published in London
31^ in. (8.9 cm)
47
Anonymous artist
Battledore, 1807
Pubhshed by W. &.T. Darton, London
6'/4 in. (15.9 cm)
48
Anonymous artist
Presents for the Nursery, 1811
Published by John Marshall, London
6y4 in. (17.1cm)
49
Alphabet pieces in wooden box, English,
c. 1820
Ivory
Box: 7 X ll'/4 X VA in. (17.8 x 28.6 x 4.4 cm)
Pieces: % x Vi in. (1.9 x 1.3 cm) each
50
Hornbook, American, c. 1825
Wood
12 in. (30.5 cm)
51
Picture Alphabet, c. 1820
Box: h: 3V4 in. (8.9 cm); diam: iVi in. (8.9 cm)
Cards: diam: 2 in. (5.1 cm) each
52
Picture Alphabet for a Good Child, c. 1820
Box: h: 3y4 in. (8.3 cm); diam: 3V4 in. (8.9 cm)
Cards: diam: 2 in. (5.1 cm) each
53
Anonymous artist
The Young Child's A, B, C, 1820
Published by Samuel Wood and Sons,
New York
4 in. (10.2 cm)
54
Anonymous artist
The Universal Battledore for Children, 1822
Published by J. & H. Bailey, London
5 X 8'/i in. (12.7 x 21.0 cm) (extended)
55
Anonymous artist
The Good Child's A, B, C Book, 1830
Pubhshed by Mahlon Day, New York
4V4 in. (10.8 cm)
56
Anonymous artist
The Infant's Battledore, 1830
Published bv S. Moore, Castle Cary
5 X 8 in. (12.7 x 20.3 cm) (extended)
57
Pictorial Primer on Wooden Blocks, 1830
Pubhshed by V. S. W. Parkhurst, Providence
Box: 6Vi X 8y4 X 2% in. (16.5 x 22.2 x 7 cm)
Blocks: 2y4 x 3y4 x y4 in. (7 x 9.5 x 1.9 cm) each
16
58
Anonymous artist
Richardsom New Battledon; 1830
Published by Thomas Richardson, Derby
5% X 9 in. (14.6 x 22.9 cm) (extended)
59
Anonymous artist
RichiirJson'i New Battledore. 1830
Pubhshed by Thomas Richardson, Derby
SV* X 9 in. (14.6 x 22.9 cm) (extended)
60
Anonymous artist
Marki'i Htitory of an Apple Pie, 1835
Published by J. L. Marks, London
6^/4 in. (17.1cm)
61
George Cruikshank (British, 1792-1878)
A Comu Alphabet, 1836
Published by George Cruikshank, Pentonville,
England
Sin. (12.7 cm)
Richard Vbgler Cruikshank Collection, Grun-
wald Center for the Graphic Arts, UCLA
68
Anonymous artist
Great Rig ABC, 1870
Published by McLoughhn Bros., New York
7'/4 in. (18.4 cm)
69
Walter Crane (British, 1845-191.S)
The Alphabet ofOldFrtendi, 1874
Published by George Routledge and Sons,
London and New York
10'/2 in. (26.7 cm)
Fig. 2
70
Kate Greenaway (British, 1846-1901)
A Apple Pie, 1886
Published by Frederick Warne, London and
New York
8'/2 in. (21.6 cm)
71
Kate Greenaway (British, 1846-1901)
A Apple Pie, 1886
Published by George Routledge, London
8V2 in. (21.6 cm)
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Fig. 7 William Nicholson, illustration from An Alphabet,
1898 (cat. no. 73).
62
Anonymous artist
Panoramic Alphabet, 1840
Published by Webb and Millington, Leeds
6V4 in. (15.9 cm)
72
Anonymous artist
ABC of Objects for Home and School, 1895
Published by McLoughlin Bros., New York
12y4 in. (31.1cm)
63
Anonymous artist
Grandmama Goodsoul's Fruit and Flower
Alphabet, 1847
Pubhshed by Read and Co., London
lO'A in. (27.3 cm)
64
George W. Terrv
The Alphabet Annotated, 1853
Published by Ackermann and Co., London
13 in. (33 cm)
65
Anonymous artist
The Royal Picture Alphabet, 1854
Published by Ward and Lock, London
7;^ in. (19 cm)
66
Anonymous artist
Good Child i ABC and Picture Book, 1 860
Pubhshed by O. Onken, Saint Louis
5% in. (14.6 cm)
67
Anonymous artist
My Fmt Alphabet. 1865
Published by George Routledge and Sons,
London and New York
71/4 in. (18.4 cm)
73
Wilham Nicholson (British, 1872-1949)
An Alphabet. 1898
Book with fwenty-six hand-colored woodcuts
Published by William Heinemann, London
16 in. (40.6 cm)
Fig. 7
74
Anonymous artist
My Tmy Alphabet Book. 1900
Published by David Bryce and Son, Glasgow
l'/4 in. (3.2 cm)
75
Henry Mayer (b. 1868)
Little People: An Alphabet, by T W. H.
Crosland, 1902
Published by Grant Richards, London
5 in. (12.7 cm)
76
Edmund Dulac (French, 1882-1953)
Lyrics Pathetic and Humorous from A to Z, 1906
Published bv Frederick Warne, London
10% in. (27.3 cm)
77
Anonymous artist
The Daily Express ABC. 1933
Published in England
9 in. (22.9 cm)
17
Fig. 8 Anonymous artist, illustration from
The ChUd\ Fairy Uhrary, 1837 (cat. no. 163).
cw attitudes toward children and their education began to deveioji in
the late seventeenth century, when many educators appealed for greater
consideration of children's distinctive needs and when the notion of
pleasure in learning was becoming more widely accepted. ' Most indica-
tive of this evolution of ideas are the writings of philosophers John Locke (1632-1704)
and Jean-Jacques Rousseau (1712-78). In 1693 Locke wrote in Some Thoughts Con-
cerning Education that "children should be treated as rational creatures. . . . They
must not be hindered from being children, nor from playing and doing as children,
but from doing ill. "^Rousseau regarded childhood as a pure and natural state — one
distinct from adulthood — and believed that a central goal of education should be
to preserve the child's original nature. He also believed that it was essential for
teachers to see things as children do. ' The writings ot Locke and Rousseau influ-
enced British educators, and their ideas ultimately led to a more humane approach
to education in which enjoyment was considered an aid to learning.
By the early eighteenth century interest in children's literature (and a rise
in literacy) led to new markets and a flourishing ot new publishers, particularly in
England. Innovations in typography and printing allowed greater treedom in repro-
ducing art through engraving, woodcut, etching, and aquatint, although illustra-
tors were still largely anonymous and illustrations confined to frontispieces.
Thomas Boreman was one of the first entrepreneurs to respond to the
market with his miniature books entitled Gigantick Histories (1740-43; see cat. no.
79) as well as other illustrated books on subjects such as natural history (see fig. 9).
The most important of the early publishers was John Newbery (1713-67). Newbery
ran his London bookshop from 1745 to 1767, publishing vast quantities ot children's
literature of all types as well as a wide range ot books on reading, philosophy, and
science, most covered in flowered and gilt Dutch paper and enlivened by simple
woodcut illustrations." His first children's book was A Little Pretty Pocket Book
(1744), and one of the most popular was his 1765 History of Little Goody Two Shoes
(see fig. 10; cat. nos. 82, 105, 131), regarded as the first novel written specifically tor
children (it is said to have been written for Newbery by Oliver Goldsmith).'
Other enterprising London publishers who succeeded Newbery were John
Harris and John Marshall. In 1807 Harris published the innovative Butterfly's Ball
and the Grasshopper's FeasthyY^WYxAm Roscoe (cat. no. 108), a nonsensical rhymed
tale of insects in the woods, which offered pure fantasy unadulterated by moral
lessons. Harris continued to publish more standard didactic works as well as tairy
tales and nursery rhymes. Marshall's books were published in a variety ot torms,
including the first infant's libraries, boxed miniature libraries (see cat. nos. 92-94;
iU. p. 6), as well as infant's cabinets, decorated bo.xes containing small books and
pictures (see cat. nos. 96-98, 100). Children's literature at this time ranged trom
these more expensive editions to the widely published chapbooks, inexpensive
pamphlets distributed by peddlers throughout the countryside.
The two most significant genres of eighteenth-century children's litera-
ture were the fairy tale and the moral tale. Fairy tales, which had been passed down
from generation to generation through oral tradition, were first collected and put
into print at the French court of Louis XIV by writers such as the Countess d'Aulnoy
(see cat. nos. 145, 149), Madame de Villeneuve, and Madame Le Prince de Beau-
mont. Charles Perrault's 1697 Histoires on contes du temps passe {Tales of long ago;
see cat. nos. 144, 146-48, 150, 192) contain the first written versions of "Cin-
derella," "Sleeping Beauty," "Red Riding Hood," "Blue Beard," "Hop o' My Thumb,"
and "Puss in Boots."' Perrault's versions of these stories have dominated EngUsh
and American children's Uterature since the eighteenth century (see inside front
cover). The frontispiece of his original edition (fig. 11) pictured an old woman
telling stories to a group of children, with the inscription Contes de ma mere I'oye
("Tales of mother goose," a French folk expression roughly equivalent to "old v\dves'
Publishing for
Children
19
^('^■■33. Ske Ma/t- .
V\^. 9 Anonymous artist, illustration from
A DeiCnjHwn of a Great Variety ofAnimah and
Ve^etahki. 1736 (cat. no. 78).
Fig. 10 Anonymous artist, illustration from
The History of Little Goody Two-Shoes, 1768
(cat. no. 82).
tales"). This was the first appearance ot the character who would later be associ-
ated with nursery rhymes when the Newbery firm attached the name to a collec-
tion published under the title Mother Goose's Melody; oi; Sonnets for ihe Cradle (1781;
cat. no. 154).
Fairy tales, as weU as popular adventure tides such as Daniel Defoe's Robin-
son Crusoe (1719; cat. nos. 115, 121), often engendered criticism in the eighteenth
and early nineteenth centuries. Sarah Trimmer (1741-1810), a noted author of
moral lesson books, denounced "imaginary beings tor children" in her 1773 review
oi Mother Bunch's Fairy Tales.' Indeed, though numerous chapbook editions of
Perrault were published throughout the eighteenth century, they were generally
overshadowed by more didactic books that dealt with issues ot morality or rehgion.
It was not until well into the nineteenth century that tairy tales came to dominate
the children's book market.
Moral or cautionary tales, in which good children were rewarded and bad
children were appropriately punished, were generally of less interest with regard to
illustrations than were fairy tales. Many were religious tracts written under the
influence of Anglican Evangelicals, and they were published in great number
throughout the eighteenth and early nineteenth centuries, by firms such as Newbery
and Marshall. The proliferation of editions of such books as Isaac Watts's Divine
Songs (1715; see cat. no. 213) testifies to the enduring popularity ot works that put
religious lessons into a more enjoyable torm. Among the most notable women
authors of devotional literature or moral tales in England were Trimmer, Anna
Laetitia Barbauld (1743-1825), and Mary Martha Sherwood (1775-1851).
Fig. 1 1 Anonymous artist, illustration from
Histoires ou (ontes du temps passe (Tales of long
ago), by Charles Perrault, 1698 (cat. no. 144).
Fig. 12 Anonymous artist, illustration from The
Picture Gallery i or, Peter Prim's Portraits of Good and
Bad Girls and Boys. 1814 (cat. no. 205).
Goodnatiired George
Here Georg'e a Youth, of happy xui&n.
In domg" g'ood IS active seen.
As soon as Davy reaches land.
His nets to spread. Ixe lends a hand .
:!
21
Publishing for Children
78
Anonymous artist
A Description of a Great Variety of Animals anil
Vegetables, 1736
Published by Thomas Boreman, London
6'/4 in. (16.5 cm)
Fig. 9
79
Anonymous artist
The Gigantici Histories. 10 vols., 1741-43
Published by Thomas Boreman, London
2'/^ in. (6.4 cm) each
80
"The Ludford Box," 1743-81
Box covered in Dutch paper
A collection ot 16 volumes once thought to
have been the juvenile Ubrary of John and
Elizabeth Juliana Ludford
81
Anonymous artist
A Collection of Pretty Poems for the Amusement of
Children Three Foot High, by Tommy Tagg,
1768
Published in London
4Vi in. (10.8 cm)
82
Anonymous artist
The History of Little Goody Two-Shoes, 1768
Published by Newbery and Carnan, London
4 in. (10.2 cm)
Fig. 10
83
Anon\'mous artist
The Adventures of Nobody, by Somebody, 1773
Published by H. Roberts, London
4 in. (10.2 cm)
84
Anonymous artist
The Curious Adventures of a Little White Mouse,
1780
PubUshed in London
41/4 in. (10.8 cm)
85
Anonymous artist
The Death and Burial of Cock Robin, 1 780
Published by M. Morgan, Lichfield, and
A. Morgan, Stafford
17'/2 X 12% in. (44.5 x 32.4 cm) (uncut sheet)
86
Anonymous artist
The Adventures of Captain Gulliver, by Jonathan
Swift, 1785
PubUshed by P Osborne and T. Griffith,
London
4'/4 in. (10.8 cm)
87
Anonymous artist
A Description of Animals, 1786
Published by J. F. and C. Rivington et al.,
London
7 in. (17.8 cm)
88
Anonymous artist
A Choice Collection of Riddles, Charades, Rebusses,
by Peter Puzzlewell, 1794
Published by E. Newbery, London
5'/4 in. (13.3 cm)
89
Anonymous artist
The Children's Cabinet: or, A Key to Natural
History. 1798
Published by Laurie and Whittle, London
4V4 in. (10.8 cm)
90
Anonymous artist
Wood engraving blocks, nineteenth century
2V2 X 2 X 1 in. (6.4 x 5.1 x 2.5 cm) each
(approx.)
91
Anonymous artist
Gullivei — a Miraculous Voyage to Lilliput, 1800
Pubhshed by SchaUer and Kirn, Furth, Bavaria
\Q% in. (26.7 cm)
92
Infant's Library, 1800
Wood box containing thirteen volumes
Pubhshed by John Marshall, London
6'/2 xV/2X 2'/i in. (16.5 x 8.9 x 6.4 cm)
93
Infant's Library, 1800
Wood box containing seventeen \'olumes
Published by John Marshall, London
6Vz X 3'/2 X 2'/2 in. (16.5 x 8.9 x 6.4 cm)
94
Infant's Library, 1800
Wood box containing sixteen volumes
Pubhshed by John Marshall, London
13 X 8V2 x 5V2 in. (33 x 21 x 14 cm)
95
The Story of Aladdin, c. 1800
Box containing twelve hand-colored engravings
mounted on cardboard
Box: 2% x 2% x V/i in. (7 x 7 x 3.8 cm)
Cards: 2Vi x2Vi in. (5.7 x 5.7 cm) each
96
The Infant's Cabinet of Fishes, 1801
Wood box containing hand-colored engravings
Published by John Marshall, London
31/2 X 2V2 X VA. in. (8.9 x 6.3 x 3.8 cm)
97
The Infant's Cabinet of Flowers, 1801
Wood box containing hand-colored engravings
Published by John Marshall, London
S'/tx 2W x V/2 in. (8.9 x 6.3 x 3.8 cm)
98
The Infant's Cabinet of Various Objects, 1801
Wood box containing hand-colored engravings
PubUshed by John MarshaU, London
3 W X 2V4 X IW in. (8.9 x 6.3 x 3.8 cm)
99
Anonymous artist
Youthful Recreations, 1801
PubUshed by W. Darton and J. Harvey,
London
3'/4 in. (8.3 cm)
100
The Infant's Cabinet of Shells, 1802
Wood box containing hand-colored engra\'ings
PubUshed by John Marshall, London
3 Vi x 2'/^ X iy2 in. (8.9 X 6.3 X 3.8 cm)
101
Anonymous artist
The Cabinet of Instruction and Amusement, 1803
PubUshed by John Fairburn, London
4 in. (10.2 cm)
102
Anonymous artist
Aladdin; or, the Wonderful Lamp: A Tale for the
Nursery. 1805
PubUshed by Tabart, London
5 in. (12.7 cm)
103
Anonymous artist
The Honours of the Table; or. Rules for Behaving
during Meals, with the Whole Art of Carving,
1805
PubUshed by Gye and Son, Bath
6% in. (17.1 cm)
104
Anonvmous artist
lUustrations for The Happy Courtship, Merry
Marriage and Picnic Dinner of Cock Robin and
Jenny Wren: to Which Is Added, Alas! the Doleful
Death of the Bridegroom, c. 1806
Nine ink and wash drawings
For book pubUshed by John Harris, London
2y2 X 3V4 in. (6.4 x 8.9 cm) each (approx.)
105
Anonymous artist
The History of Goody Two-Shoes, 1806
PubUshed by Darton and Har\ey, London
4'/i in. (11.4 cm)
22
106
Anonymous artist
The Elepbant'i Bull ami GranJ Fete Chtitnpetre,
1807
Published by John H^irris, London
45/4 in. (12 cm)
107
Anonymous artist
The WorU Turned UpsiJe Down, 1807
Published in England
5 in. (12.7 cm)
108
William Mulready (Irish, 1786-1863)
The Butterfly's Ball and the Grasshopper's Feast.
byWilliamRoscoe, 1807
Published by John Harris, London
4'/4 in. (12 cm)
109
William Blake (British, 1757-1827), after
William Mulread)-
Tales from Shakespear, vol. 1, by Charles and
Mary Lamb, 1807
Published by Thomas Hodgkins, London
7 in. (17.8 cm)
110
Anonymous artist
The Horse's Levee. 1808
Published by John Harris, London
Sin. (12.7 cm)
111
Anonymous artist
The Lion's Masquerade. 1808
Published by John Harris, London
Sin. (12.7 cm)
112
Anonymous artist
The Twelve Labors of Hercules, 1808
Published by Didier and Tebbett, London
5 in. (12.7 cm)
113
Anonymous artist
Peter Prim's Pride; or, Proverbs That Will Suit the
Young and the Old. 1810
Published by John Harris, London
5 in. (12.7 cm)
114
Anonymous artist
M Baha; or. The Forty Thieves. 1813
Published by J. Catnach, London
S'/4 in. (13.3 cm)
115
Anonymous artist
The Family Robinson Crusoe, vol. 1, by M. Wiss,
1814
Published by M.J. Godwin, London
63/4 in. (17.1cm)
116
Anonymous artist
A Natural History of Fishes, 1815
Published by W. Davison, Alnwick
5'/2in. (t4cm)
117
Anonymous artist
A Natural History of Reptiles, Serpents, and
Insects. 1815
Published by W. Davison, Alnwick
5'/2in. (14 cm)
118
Anonymous artist
A Natural History of Water Birds. 1815
Published by W. Davison, Alnwick
S'/jin. (14 cm)
119
Anonymous artist
Gulliver's Travels, by Jonathan Switt, 1815
Published by J. Walker, London
51/4 m. (13.3 cm)
120
Anonymous artist
Dame Truelove's Tales: Useful Lessons for Little
Misses and Masters, 1817
Published by John Harris, London
S'/4 in. (13.3 cm)
121
Anonymous artist
New Robinson Crusoe. 1818
Published by J. J. Stockdale, London
71/2 in. (19 cm)
122
Anonymous artist
British, Foreign, and Youthful Sports, 1 820
Published by W. Belch, London
6'/4 in. (15.9 cm)
123
Anonymous artist
The Paths of Learning Strewed with Flowers,
1820
Published by John Harris, London
7 in. (17.8 cm)
124
Anonymous artist
The New Cries of London, by J. Bishop, 1824
Published by A. K. Newman, London
5V2in. (14 cm)
125
Anonymous artist
Punctuation Personified, by Mr. Stops, 1824
Published by John Harris, London
7 in. (17.8 cm)
126
Anonymous artist
Tommy Trip's Museum; or. a Peep at the Feathered
Creation. 1824
Published by John Harris, London
7 in. (17.8 cm)
127
William Grimaldi (British, 1751-1830)
A Suit of Armour for Youth. 1824
Published by R. Ackcrmann, London
7 in. (17.8 cm)
128
Anonymous artist
A Peep at the Esquimaux. 1825
Published by H. R.Thomas, London
7 in. (17.8 cm)
129
Anonymous artist
The Butterfly's Ball and the Grasshopper's Feast,
byWilliamRoscoe, 1825
Published by S. King, New York
5 in. (12.7 cm)
130
Anonymous artist
The Infant's Grammar. 1827
Published by John Harris, London
7V4 in. (18.4 cm)
131
Anonymous artist
The History of Goody Two-Shoes and Her Brother
Tommy. 1830
Published by William Mason, London
S'/2in. (14 cm)
132
Anonymous artist
Kinder iind Jugendschriften (Writings for
children and young people), by Joachim
Heinrich Campe, 1830
Published in Braunschweig
6 in. (15.2 cm)
133
Anonymous artist
The Multiplication Table in Verse, 1830
Published by D. Car%'alho, London
6y4 in. (17.1 cm)
134
Anonymous artist
Petite galerie d'histoire naturelle (Small museum
of natural historj'), 1830
Published by Maulde and Renou, France
Box: 3y4 X 2% X 1 in. (9.5 x 7 x 2.5 cm)
Books: 3% in. (8.3 cm) each
135
Anonymous artist
The History of the House That Jack Built. 1833
Published by D. Cairalho, London
65/4 in. (17.1cm)
23
136
Anonymous artist
Peter Parley's Visit to London, by Samuel
Goodrich, 1836
Published by Charles Tilt, London
5^2 in. (14 cm)
137
Anonymous artist
Whittington and His Cat, 1839
Published by John Harris, London
7 in. (17.8 cm)
138
Anonymous artist
Sketches of Little Girls, by Solomon Lovechild,
1845
Published bv Thomas Dean and Co., London
6 in. (15.2 cm)
139
J. B. Sonderland (German, 1805-78)
Tales from the Eastern-Lund, by A. L. Grimm,
1847
Published by Joseph Cundall, London
6Vi in. (16.5 cm)
140
Anonymous artist
Sketches of Little Boys, 1851
Published by Dean and Son, London
7 in. (17.8 cm)
141
Anonymous artist
Aladdin and the Wonderful Lamp, 1852
Published by Dean and Son, London
lO'Ain. (26 cm)
142
Anonymous artist
Gulliver's Travels, by Jonathan Swift, 1880
Published by Thomas Nelson and Sons,
London, Edinburgh, and New York
llVjm. (29.2 cm)
143
Re.x Whistler (British, 1905-44)
Gulliver's Travels, vol. 2, by Jonathan Switt,
1930
Published by the Cresset Press, London
14W in. (36.8 cm)
Fairy Tales
144
Anonymous artist
Histoires ou contes du temps passe (Tales of long
ago), by Charles Perrault, 1698
Published in Paris
5 m. (12.7 cm)
Fig. 11
145
Anonymous artist
Les contes desfees (Fairy tales), by Madame
d'Aulnoy, 1708
Published by Estienne Roger, Amsterdam
5 in. (12.7 cm)
146
Anonymous artist
Histoires ou contes du temps passe (Tales of long
ago), by Charles Perrault, 1708
Published by Jacques Desbordes, Amsterdam
5'/4 in. (13.3 cm)
147
Anonymous artist
Histoires ou contes du temps passe (Tales of long
ago), by Charles Perrault, 1742
Published by Jacques Desbordes, Amsterdam
55/4 in. (14.6 cm)
148
Anonymous artist
Histoires ou contes du temps passe (Td\ts of long
ago), by Charles Perrault, 1742
Published in The Hague
5'/4 in. (13.3 cm)
149
Anonymous artist
Queen Mah. by Madame d'Aulnoy, 1782
Published by J. Dodsley, London
6V4 in. (15.9 cm)
ISO
Anonymous artist
Tales of Past Times, by Charles Perrault, 1798
Published by A. Millar, W. Law, and R. Cater,
London
4'/i in. (11.4 cm)
151
An Indestructible Trouble Puzzle: Little Red
Ridmg Hood a,id Little Bo Peep c. 1800
Box: 10 X 7V2 X 2Vi in. (25.4 x 19 x 6.4 cm)
Puzzle sheet: 12 x 18 in. (30.5 x 45.7 cm)
152
Anonymous artist
The Comic Adventures of Old Mother Hubbard
and Her Dog, by S. C. M., 1805
Published by John Harris, London
41A in. (11.4 cm)
153
Anonymous artist
A Continuation of the Adventures of Old Mother
Hubbard and Her Dog, 1806
Published by John Harris, London
4'^ in. (11.4 cm)
154
Anonymous artist
Mother Goose's Melody; or. Sonnets for the Cradle,
1807
Published by John Marshall, London
7 in. (17.8 cm)
155
Anonymous artist
Songs for the Nursery, 1 808
Published byTabart and Co., London
5 in. (12.7 cm)
156
Cinderella Paper Dolls, 1814
Published by S. and J. Fuller, London
5% in. (14.6 cm) (approx.)
Fig. 17
157
Anonymous artist
Fairy Tales; or, the Lilliputian Library, 1817
Published by Tabart and Co., London
7 in. (17.8 cm)
158
Anonymous artist
Cinderella, nineteenth century
Published by McLoughlin Bros., New York
10y4 in. (26 cm)
159
Anonymous artist
Cindenlla, 1819
Published by John Marshall, London
35/4 in. (9.5 cm)
160
Anonymous artist
Cinder ilia, 1820
Published by J. Kendrew, York
4 in. (10.2 cm)
161
Anonymous artist
Aldiborontiphoskyphomiostikos. a Round Game
for Merry Parties, by R. Stennet, 1825
Published by Dean and Munday, London
7 in. (17.8 cm)
162
Anonymous artist
The Surprising Adventures of Puss in Boots, 1827
Published by John Harris, London
7 in. (17.8 cm)
163
Anon}'mous artist
The Child's Fairy Library, 1837
Published by Joseph Thomas, Tegg and Son,
and Simpkin and Marshall, London
5V2 in. (14 cm)
Fig. 8
24
164
Anonymous artist
Puss in Boots, from Tie Child's Fairy Library,
1837
Published by Joseph Thomas, Tegg and Son,
and Simpkjn and Marshall, London
5'/2in. (14 cm)
165
Anonymous artist
Cinderella, 1843
Pubhshed by Grant and Griffith, London
7 in. (17.8 cm)
166
A. H. Forrester (Alfred Crowquill, pseud.;
British, 1804-72)
Tom Thumb, trom Tales from the Court of
Oberon. 1848
Published by Grant and Griffith, London
6V2 in. (16.5 cm)
167
George Cruikshank (British, 1792-1878)
Cinderella, 1854
Published by David Bogue, London
63/4 in. (17.1 cm)
168
George Cruikshank (British, 1792-1878)
Illustrations from Cinderella, 1854
Six hand-colored etchings
6% X 5 in. (17.1 X 12.7 cm) each
Richard Vogler Cruikshank Collection,
Grunwald Center for the Graphic Arts, UCLA
169
George Cruikshank (British, 1792-1878)
Illustrations irom Jack and the Beanstalk. 1854
Three etchings
7'/4 X 5% in. (18.4 x 14.6 cm) each
Richard Vogler Cruikshank Collection,
Grunwald Center tor the Graphic Arts, UCLA
Fig. 22
170
Anonymous artist
Old Mother Hubbard 1858
Pubhshed by McLoughHn Bros., New York
5 in. (12.7 cm)
171
Anonymous artist
Old Mother Hubbard and Her Dog, trom Popular
Nursery Tales and Rhymes, 1859
Published by Routledge, Warne, and Rout-
ledge, London
7'/2in. (19 cm)
172
Lydia L. Very (American, 1823-1901)
Red Riding Hood 1863
Pubhshed by L. Prang, Boston
63/4 in. (17.1 cm)
Fig. 13
173
Lydia L. Very (American, 1823-1901)
Red Ruling Hood 1863
Published by L. Prang, Boston
6^4 in. (17.1 cm)
174
George Cruikshank (British, 1792-1878)
Illustrations from Puss in Boots, 1864
Sue hand-colored etchings
6^/4x5 in. (17.1x12.7 cm) each
Richard Vogler Cruikshank CoDection,
Grunwald Center tor the Graphic Arts, UCLA
175
Anonymous artist
The Three Blind Mice, 1864
Published by Dean and Son, London
10 in. (25.4 cm)
176
Anonymous artist
Cinderella, 1865
Published by George Routledge and Sons,
London and New York
7 in. (17.8 cm)
177
Gustave Dore (French, 1832-83)
Puss in Boots, trom Fairy Realm, by Tom Hood,
1865
Published by Cassell, Petter, and Galpin,
London
13 in. (33 cm)
178
W. Gunston
Cinderella, 1865
Pubhshed by Frederick Warne, London
IOV4 in. (26 cm)
179
Harrison Weir (British, 1824-1906)
Old Mother Hubbard and Her Dog, 1865
Pubhshed by Frederick Warne, London
IOV4 in. (26 cm)
180
Anonymous artist
The Three Bears, from A Apple Pie and Other
Nursery Rhymes, 1870
Published by George Routledge and Sons,
London and New York
6 in. (15.2 cm)
181
Anonymous artist
Three Little Pigs, 1870
Published by McLoughlin Bros., New York
7'/2in. (19 cm)
Fig. 13 Lydia L. Very, Red Ruling Hood. 1863
(cat. nos. 172-73).
25
182
Anonymous artist
Red Riding Hood, 1871
Published by George Routledge and Sons,
London and New York
7V4 in. (18.4 cm)
18.^
Anonymous artist
Jack and Gill. 1872
Published by W. P. Nimmo, Edinburgh
5',-^ in. (14 cm)
184
Anonymous artist
Tom Thumbs froni The Pla\-room Allnim for
Children. 1876
Published by George Routledge .md Sons,
London and New York
7y4m. (18.4 cm)
185
Waher Crane (British, 1845-1915)
The Children's Mmical Cinderella. 1879, by
William Routledge and Louis N. Parker
Pubhshed by George Routledge and Sons,
London
93/4 in. (24.8 cm)
186
Anonymous artist
Le chat hotte (Puss in boots), 1880
Pubhshed by Edmond Schoemaeker, Paris
101/2 in. (26.7 cm)
187
Anonymous artist
Little Red Riding Hood and Cinderella, c. 1880
Pubhshed by Dean and Son, London
73/4 in. (19.7 cm)
ricfa cininal, Ijici ficlit ct,
i-iiiil ^er Struroluelf'Ctctl
i'lii ben .Ciantcii beibcn
I'icB tt fiA nidjt jifineibcn
^5ctne 9iai^cl faft ehi ^flftt;
.ft^mmcn liefj ci iii(^t fein .§aar.
%\vi\\ iiifi &a cin SeC'er:
®at[t'ijn ©Ituitiroelptttt!
i nT n ttmi i 1 1 rrcT riTrtiTi me n^
Fig. 14 Heinrich Hoffmann, illustration from
Der Srniwwelpeter, 1876 (cat. no. 214).
188
Anonymous artist
Mo/her Goose, 1880
Pubhshed by McLoughlin Bros., New York
10'/2 in. (26.7 cm)
189
Anonymous artist
Old Mother Goose, 1880
Pubhshed by McLoughlin Bros., New York
7'/4 in. (18.4 cm)
190
Anonymous artist
The Three Bears. 1880
Pubhshed by McLoughhn Bros., New York
10'^ in. (26.7 cm)
191
Anonymous artist
The Three Bears. 1880
Pubhshed by McLoughhn Bros,, New York
7'/5in. (19 cm)
192
Gustave Dore (French, 1832-83)
Little Red Riding Hood, from Les contes de
Perrault (Perrault's tales), 1880
Pubhshed by J. Hetzel, Paris
15% in. (40 cm)
193
Kate Greenaway (British, 1846-1901)
Mother Goose. 1880
Pubhshed by Frederick Warne, London
bVi in. (16.5 cm)
194
Anonymous artist
Cinderella. 1890
Pubhshed by Frederick Warne, London and
New York
91/4 in. (23.5 cm)
195
.Anonymous artist
Cinderella, 1891
Pubhshed by McLoughlin Bros., New York
IPA in. (29.8 cm)
196
Anonymous artist
Japanese Fairy Tales. 16 vols., 1892
Pubhshed by Griffith Farran and Co., London
and Sydney
6 in. (15.2 cm)
197
Harold B. Lentz
The Pop-Up Mother Goose. 1933
Pubhshed by Blue Ribbon, New York
8% in. (21.6 cm)
26
Moral Tales
198
Anonymous artist
The Mosaic Creation: or. Divine Wisdom Dis-
played in the Works of the First Six Days, 1758
Published by John Newbery, London
4 in. (10.2 cm)
199
Anonymous artist
A Token for Children, by James Janeway, 1802
Published by M.Jones, London
3'/! in. (8.9 cm)
200
Anonymous artist
The Daisy; or, Cautionary Stones in Verse, 1808
Published by John Harris, London
51/4 in. (13.3 cm)
201
Anonymous artist
Illustrations for The Li/v and The Two Boys,
c. 1808
Twelve ink and wash drawings
For books published by John Harris, London
2'/2 X 3'/2 in. (6.4 x 8.9 cm) each (approx.)
202
Anonymous artist
TheLi/y,lSOS
Published by John Harris, London
51/4 in. (13.3 cm)
203
Anonymous artist
The Two Boys: or. The Reward ofTruth, 1808
Published by John Harris, London
43/4 in. (12 cm)
204
Anonymous artist
The Cowslip; or. More Caiitionarv Stories in Verse,
1811
Published by John Harris, London
5V4 in. (13.3 cm)
205
Anonymous artist
The Picture Gallery; or, Peter Prim's Portraits of
Good and Bad Girls and Boys, 1814
Published by John Harris, London
5 in. (12.7 cm)
Fig. 12
206
Anonymous artist
Proverbs in Verse, 1814
Pubhshed by I. Souter, London
6V4 in. (15.9 cm)
207
Anonymous artist
Right and Wrong, Exhibited in the History of
Rosa and Agnes, 1818
Published by John Harris, London
5Vi in. (14 cm)
208
Anonymous artist
Industry and Idleness, by Mary Belson, 1820
Published by William Darton, London
6 in. (15.2 cm)
209
Anonymous artist
The Story-Teller, 1820
Published by Munroe and Francis, Boston
6 in. (15.2 cm)
210
Anonymous artist
Story of Little Dick and His Playthings: Showing
How a Naughty Boy Became a Good One, 1823
Published by J. Lumsden, London
5V2 m. (14 cm)
211
Anonymous artist
Rhymes for Harry and His Nurse-maid, 1825
Published by William Darton and Son,
London
bV4 in. (17.1 cm)
212
Anonymous artist
Sunday Lessons for Little Children, by Mrs.
Barwell, 1845
Published by Grant and Griffith, London
5'/4 in. (13.3 cm)
213
Anonymous artist
Watts's Songs — Praises for Good, by Reverend
Isaac Watts, 1876
Published by McLoughlin Bros., New York
51/2 in. (14 cm)
214
Heinrich Hoftmann (German, 1809-94)
Der Struwwelpeter, 1876
Published bv Literarische Anstalt, Riitten, and
Loening, Frankflirt am Main
ll'/4 in. (28.6 cm)
Fig. 14
215
Heinrich Hoffmann (German, 1809-94)
The English Struwwelpeter, 1884
Published by A. N. Myers, London
10 in. (25.4 cm)
27
Fig. 15 Lothar Meggendorter, illustration for
Die Uhr (The clock). 1907 (cat. no. 300).
Dvablc parts appeared in scientific books as early as the sixteenth
century (see cat. nos. 1-3, 10), but not until the mid-eighteenth
century were movable books conceived as entertainment for children
or adults. The toy trade also became increasingly important as the
children's market grew. '"The harlequinade, a type ot novelty book named after
theatrical pantomimes featuring the harlequin in a leading role, was invented around
1765 by London bookseller Robert Sayer (see cat. nos. 216-18, 227, 228). Composed
of a single sheet of paper with iUustrations on flaps that open to reveal another pic-
ture below, the harlequinade immediately became immensely popular. Also related
to the theater were juvenile drama sheets (see fig. 16; cat. nos. 247, 248, 257, 258,
260), printed sheets of scenery and characters out of which children created their
own miniature theaters, the earliest ot which date to about 1810." Around the
same time the London firm of S. and J. Fuller invented the paper doll (see fig. 17;
cat. nos. 156, 231, 233, 236, 243). These loosely inserted cutout figures with remov-
able heads were accompanied by stories in verse, the most famous of which was
Litt/e Fanny (1810; cat. no. 231). FuUer was also among the earhest publishers of
peep shows (see cat. nos. 222, 224, 225, 242, 250, 251), books that open to form a
hinged tunnel for viewing, which were inspired by traveling peep shows. Other
firms soon joined the scenic book trade, the most notable ot which were Dean and
Son and the German publishers Raphael Tuck and Ernest Nister. Nister's most
important contribution was the dissolving picture book (see cat. nos. 266, 271), in
which the sheets were cut horizontally or into a circle so that a new scene could be
revealed by puUing a tab.
Games were common amusements for children in nineteenth-century
England, including board games (see fig. 18), card games, and puzzles. Of partic-
ular interest were geographical games, a great many of which were produced by
members of the Wallis family, leading publishers ot children's games from 1775
through the 1830s (see cat. nos. 219, 229, 234, 239, 244, 249). Maps also provided
images for puzzles, the earliest of which date to the 1760s (see cat. no. 253).
Lothar Meggendorfer (1847-1925) illustrated, designed, and engineered
the most elaborate and intricate movable books ot the century, primarily during
the 1880s and 1890s. Though he was also a popular magazine illustrator, his
reputation today is based on his mechanical picture books tor children, and he is
considered the creator of the modern movable picture book. Beginning in the late
1880s and through the 1890s, his books enjoyed great popularity and were pub-
lished in a variety of editions and languages. He
produced books with movable figures operated by
interconnected cardboard pieces sandwiched
between sheets of paper, transformation pictures
with interchangeable segmented parts, books with
pop-up designs, and large unfolding books such
as his 1899 Das Puppenhaus (The dollhouse; cat.
no. 298). The technical wizardry of these books
remains unequaled (see figs. 15, 19; cat. nos.
281-300).
World War I brought an end to the pub-
lication of movable books and their importation
to England from Germany, and the lack of fine
printing facilities in England and the United States
led to a decline in the movable book trade. The
emergence of the pop-up book came after the
war, however, and this simplified version ot its
nineteenth-century predecessor has endured
throughout this century.
Movable and
Pop-up Books,
Toys, and
Games
Fig. 16 Anonymous artist, Pollock's Scenes in
Cimlcn-lla. c. 1876 (cat. no. 258).
29
Fig. 17 CmdercUa Paper Doth, 1814 (cat. no. 156).
Fig. 18 Anonymous artist, Royal Game of the
Dolphin. 1821 {cat. no. 240).
Movable and Pop-up Books,
Toys, and Games
216
Anonymous artist
Harlequin's Invasion: A New Pantomime. 1770
Published by Robert Sayer, London
7'/4 in. (18.4 cm)
217
Anonymous artist
Harlequin Cherokee^ or. The Indian Chiefs m
London, 1772
Published by Robert Sayer, London
73/4 in. (19.7 cm)
218
Anonymous artist
Harlequin Skeleton, 1772
Pubhshed by Robert Sayer, London
6% in. (17.1cm)
219
Anonymous artist
A Tour through England and Wales, 1 794
Hand-colored engraving
Published by Wallis, London
20 '/4 X 2bV2 in. (51.4 x 67.3 cm)
220
Anonymous artist
Pastora; or, the Shepherdess of the Pyrenees, 1796
Hand-colored engraving
Published by Champante and Whitrow,
London
IOV2X 81/4 in. (26.7x21 cm)
221
Africa Neatly Dissected, nineteenth century
Pubhshed by William Darton, London
Box: 71/4 X 71/2 X IVi in. (18.4 x 19 x 6.4 cm)
222
French Public Gardens or Zoo, c. 1800
Pubhshed in France
5Vi X 4% X 20^/4 in. (14 x 12.1 x 52.7 cm)
(extended)
223
Jeu du commerce (Game of commerce), c. 1800
Published in France
Cards: 3 V4 x 2 in. (8.2 x 5.1 cm) each
224
Palace Garden Peep Show, c. 1800
Pubhshed in Paris
5 X 7</4 X 18'/4 in. (12.7 x 18.4 x 46.4 cm)
(extended)
225
Pastoral Scene Peep Show, c. 1800
6 X 7% X 29 in. (15.2 x 19.7 x 73.7 cm)
(extended)
226
Anonymous artist
Goody Two Shoes, 1803
Pubhshed by T. Hughes, London
7 in. (17.8 cm)
227
Anonymous artist
A4etamorphosis; or, A Transformation of Pictures,
by Benjamin Sands, 1807
Pubhshed by Solomon Wigatt, Philadelphia
5% in. (14.6 cm)
228
Anonymous artist
Choice of Harlequin, or the Indian Chief, 1808
Pubhshed by G. Martin, London
4 in. (10.2 cm)
229
Anonymous artist
Game of Mother Goose, 1808
Hand-colored engraving
Pubhshed by Walhs, London
2iy4x 15 in. (55.2x38.1 cm)
230
Anonymous artist
The Panorama of London, 1809
Hand-colored engraving
Pubhshed by John Harris, London
21x215/4 in. (53.3x55.2 cm)
231
The History of Little Fanny, 1810
Pubhshed by S. and J. Fuller, London
H: 4V4 in. (10.8 cm) each paper doll (approx.)
232
Lejeu du sorcier (Sorcerer's game), 1810
Pubhshed by Gide fils, Paris
Cards: 4% x 3 in. (12.1 x 7.6 cm) each
233
Ellen; or, The Naughty Girl Reclaimed, 1811
Pubhshed by S. and J. Fuller, London
H: 4W in. (10.8 cm) each paper doll (approx.)
234
Anonymous artist
The Mirror of Truth, 1811
Hand-colored engraving
Pubhshed by Walhs, London
17 x21Vi in. (43.2x54.6 cm)
235
Anonymous artist
Miss Rose, 1811
Pubhshed by Dean and Munday, London
8 in. (20.3 cm)
236
Young Albert. 1811
Pubhshed by S. and J. Fuller, London
H: SVi in. (14.6 cm) each paper doll (approx.)
237
Anonymous artist
Grand jeu de Thistoire ancienne de la Grece (Large
game of ancient Greek history), 1815
Engraving
Pubhshed by Bassett, Paris
19 V4 X 25 '/2 in. (48.9 x 64.8 cm)
238
Political Figures, 1815
Pubhshed in England
Box: 4W X 3 X Wz in. (11.4 x 7.6 x 3.8 cm)
239
Anonymous artist
Village Portraits, 1818
Hand-colored engraving
Pubhshed by Walhs, London
17 x20'/4 in. (43.2x51.4 cm)
240
Anonymous artist
Royal Game of the Dolphin, 1 82 1
Hand-colored engraving
Published by William Darton, London
16 xl9'-4 in. (40.6x49.5 cm)
Fig. 18
241
Gothic Bricks, c. niA
Wood box with blocks
Box: 7V4 X 9 x 3 in. (19 X 22.9 x 7.6 cm)
242
Areaorama of the Thames, 1827
Pubhshed in London
4V4 y.SVix 233/4 in. (10.8 x 14 x 60.3 cm)
(extended)
243
Stephanie, 1830
Pubhshed by G. Doyon, Paris
H: 4% in. (12 cm) each paper doll (approx.)
244
Anonymous artist
Wanderers in the Wilderness, 1830
Hand-colored engraving
Pubhshed by WaUis, London
27x201.4 in. (68.6x51.4 cm)
245
Attributed to Robert Cruikshank (British,
1789-1856)
Park's New Characters, c. 1836
Hand-colored etching
Pubhshed by A. Park, London
17 xl3V4m. (43.2x33.7 cm)
246
Captain Cook's Voyage on a Toy Globe, c. 1840-60
Pubhshed in Germany
Diam: 5V4 in. (14 cm)
32
247
Anonymous artist
Pollock's Characters and Scenes in Oliver Twist,
c. 1840
Sl\ hand-colored etchings
Published by B. Pollock, London
b% X 8V2 in. (17.1 X 21.6 cm) each
248
Anonymous artist
Redington's Characters in Oliver Twist, c. 1840
Two hand-colored etchings
Published by Redington, London
6% X 81/j in. (17.1 X 21.6 cm) each
249
Anonymous artist
Game of the Star Spangled Banner, 1 842
Hand-colored engraving
Published by Wallis, London
26'/4x 20^2 in. (66.7x52 cm)
250
The Thames Tunnel Peep Show, 1843
Published in Germany
7 X %V2 X 311/4 in. (17.8 x 21.6 x 79.4 cm)
(extended)
251
Telescopic View of the Great Exhibition, 1851
Published by C. Moody, London
6V4 X 7 X 25 in. (15.9 x 17.8 x 63.5 cm)
(extended)
252
Anonymous artist
Astronomical and Geographical Diagrams, by
John Emshe, 1852
Published by James Reynolds, London
12 in. (30.5 cm)
253
Anonymous artist
Geographical Fun, by William Harvev, 1868
Published by Hodder and Stoughton, London
11 in. (27.9 cm)
257
Anonymous artist
Pollock's Characters in Cinderella, c. 1876
Four hand-colored etchings
Published by B. Pollock, London
6y4 X 8'/2 in. (17.1 x 21.6 cm) each
258
Anonymous artist
Pollock's Scenes in Cinderella, c. 1876
Sbc hand-colored etchings
Published by B. Pollock, London
10% x 123/4 in. (26 X 32.4 cm) each
Fig. 16
259
Chiromagica, c. 1880
Published by McLoughUn Bros., New York
Box: 115/4 X ll'/4 X 21/2 in. (29.8 x 29.8 x 6.3 cm)
260
Toy theater with scenes from Oliver Twist,
c. 1870-80
Painted wood with hand-colored prints
mounted on cardboard
171/2 X 14>/2 X 18 in. (44.5 x 36.8 x 45.7 cm)
261
Th. V. Pichler
Grosse Menagerie (Large menagerie), 1882
Published by Verlag von Moriz Perles, Vienna
121/2 in. (31.8 cm)
262
Anonymous artist
The Surprise Circus, c. 1885
Published by Frederick Warne, London and
New York
71/4 in. (18.4 cm)
263
Anonymous artist
Father Tuck's Land of Toys, 1890
PubHshed by Raphael Tuck and Sons, London
and New York
9% in. (24.8 cm)
267
Anonymous artist
Naughty Boy's and Girl's Magic Transformations,
1890
Published by McLoughlin Bros., New York
7% in. (19.7 cm)
268
Anonymous artist
Speaking Picture Book, 1893
Published in Germany
121/2 in. (31.8 cm)
269
Anonymous artist
The Children's Tableaux, 1895
PubHshed by Ernest Nister, London, and E. P.
Dutton, New York
13 in. (33 cm)
270
E. Stuart Hardy
The Model Menagerie, by L. L. Weeden, 1895
Published by Ernest Nister, London, and E. P.
Dutton, New York
11 in. (27.9 cm)
271
E. Stuart Hardy
//; Wonderland, 1896
PubHshed by Ernest Nister, London, and E. P.
Dutton, New York
11 in. (27.9 cm)
272
Anonymous artist
Little Pets, 1896
Published by Ernest Nister, London, and E. P.
Dutton, New York
9 in. (22.9 cm)
273
Peter NeweH (American, 1862-1924)
The Slant Book, 1910
PubHshed bv Harper and Bros., New York
121/2 in. (31.8 cm)
254
Anonymous artist
New Puss in Boots, 1873
PubHshed by Dean and Son, London
7'/4 in. (19.7 cm)
255
Anonymous artist
Royal Moveable Punch and Judy. 1873
PubHshed by Dean and Son, London
141/4 in. (36.2 cm)
256
Anonymous artist
Tale of an Old Sugar Teh, 1873
PubHshed by Dean and Son, London
12 in. (30.5 cm)
264
Anonymous artist
Jumho and the Countryman, c. 1890
Published by McLoughHn Bros., New York
11 in. (27.9 cm)
265
Anonymous artist
The Land of Long Ago, by L. L. Weeden, 1890
Published bv Ernest Nister, London, and E. P.
Dutton, New \brk
101/2 in. (26.7 cm)
266
Anonymous artist
Magic Moments, by Clifton Bingham, 1890
PubHshed by Ernest Nister, London, and E. P.
Dutton, New York
95/4 in. (24.8 cm)
274
George Alfred Williams (American, b. 1875)
The Bettijak Book, by Clara Andrews WilHams,
1914
Published by Frederick A. Stokes, New York
11 in. (27.9 cm)
275
Anonymous artist
Fanny's Funny Face, c. 1920
91/2 in. (24.1 cm)
276
Margarethe Stannard
My Dolly's Home, by Doris Harvey, 1921
PubHshed bv Arts and General PubHshers,
Ltd., London
9 in. (22.9 cm)
33
Fig. 19 Lothar Meggendorfer, illustration trom
Traz'els of Little Lord Thumb and His Man Damien,
1891 (cat. no. 293).
277
W.ilt Disney Studios
The "Pop-iip" Silly Symphoniei, 1933
Published by Blue Ribbon Books, New \ork
yy4 in. (24.8 cm)
278
Anonymous artist
Bookano Pop-up, c. 1934
Published by Strand Publications, London
8?4 in. (22.2 cm)
279
Anonymous artist
Bobby Bear, 1935
Published by Whitman, Racine, Wis.
8 in. (20.3 cm)
280
Peter Newell (American, 1862-1924)
The- Hole Book. 1936
Published by Harper and Bros., New York
8Vi in. (21.6 cm)
Lothar Meggendorfer
281
Lothar Meggendorfer (German, 1847-1925)
Book cover mock-up for Der Verwaudlungs-
kiinstler (The transformation artist)
Watercolor, mbted media
10^/4 in. (27.3 cm)
282
Lothar Meggendorfer (German, 1847-1925)
Three illustrations for In Grosspapa\ Garten
(In grandpapa's garden), c. 1880
Watercolor over pencil
9'/2 X 7'/4 in. (24.1 x 18.4 cm) (title page);
8 X IVi in. (20.3 x 19.7 cm) each
283
Lothar Meggendorfer (German, 1847-1925)
Neiie lebende Bilder (New lively pictures), 1885
Published by Verlag von Braun, Munich
13 in. (33 cm)
284
Lothar Meggendorfer (German, 1847-1925)
Immer Luitig (Always fijnny), 1886
Published by Verlag von Braun, Munich
13 in. (33 cm)
285
Lothar Meggendorfer (German, 1847-1925)
Illustrations for Auj der Kmdentube (From the
nursery), c. 1886
Pencil
12y2 X 52 in. (31.8 x 132.1 cm) (approx.)
286
Lothar Meggendorfer (German, 1847-1925)
Three illustrations for Am der Kinderstube
(From the nursery), c. 1886
Watercolors
12 X 15 '/4 in. (30.5 x 39.4 cm) each
287
Lothar Meggendorfer (German, 1847-1925)
Curious Creatures, 1890
Published by H. Grevel, London
13 in. (33 cm)
288
Lothar Meggendorfer (German, 1847-1925)
Histoires pour rire (Comical stories), 1890
Published by A. Capendu, Paris
15 in. (38.1cm)
289
Lothar Meggendorfer (German, 1847-1925)
Lebende Bilder (Lively pictures), 1890
Published by Verlag von Braun, Munich
13 in. (33 cm)
290
Lothar Meggendorfer (German, 1847-1925)
Neue Thierbilder (New animal pictures), 1890
Published by Verlag von Braun und Schneider,
Munich
13 in. (33 cm)
291
Lothar Meggendorfer (German, 1847-1925)
Scenes in the Life of a Masher, 1890
Published by H. Grevel, London
14y2 in. (36.8 cm)
292
Lothar Meggendorfer (Germ,in, 1847-1925)
Look at Me, 1891
Pubhshed by H. Grevel, London
10>/2 in. (26.7 cm)
293
Lothar Meggendorfer (German, 1847-1925)
Travels of Little Lord Thumb and His Man
Damien, 1891
Pubhshed by H. Grevel, London
lOM. in. (26.7 cm)
Fig. 19
294
Lothar Meggendorfer (German, 1847-1925)
All Alive. 1894
Published bv H. Grevel, London
13 in. (33 cm)
295
Lothar Meggendorfer (German, 1847-1925)
Three mechanical illustrations for Lach mit mirl
(Laugh with me!), c. 1896
Ink and watercolor
121/2 X 4'/2 in. (31.8 x 11.4 cm) each
296
Lothar Meggendorfer (German, 1847-1925)
Illustration for Chop Heads and Change Faces,
c. 1898
Watercolor over pencil
13'/2 in. (34.3 cm)
297
Lothar Meggendorfer (German, 1847-1925)
Chop Heads and Change Faces, 1898
Published by H. Grevel, London
111/2 in. (29.2 cm)
298
Lothar Meggendorfer (German, 1847-1925)
Das Puppenhaus (The doUhouse), 1899
Published by Verlag von J. F. Schrcibcr,
Esslingen
8V4 X 47'/2 in. (21 X 120.7 cm) (approx.,
extended)
299
Lothar Meggendorfer (German, 1847-1925)
Lack mit mir! (Laugh with me!), 1900
Published by Verlag von J. F. Schreiber,
Esslingen
13 in. (33 cm)
300
Lothar Meggendorfer (German, 1847-1925)
Six illustrations for Die Uhr (The clock), 1907
Pencil, ink, and watercolor
81/4 X 10^/4 in. (21 X 27.3 cm) each
Fig. 15
35
Fig. 20 Richard Dovle, illustration from In Fairy-
land, by William AJlingham, 1870 (cat. no. 317).
he nineteenth century witnessed the institutionalization of the idea of
childhood as a period distinct from adulthood'' and as a time to be
enjoyed, at least by prosperous middle-class Victorians. Durinj^ the
latter halt of the century many of the classics of children's hterature in
English appeared, including Lewis CslttoWs Alice's y^dveniures in Wonderland {\2i6S),
Louisa May Alcott's Little Women (1868-69), Robert Louis Stevenson's Treasure
Island (1883), Mark Twain's Adventures of Huckleberry Finn (1884), and Rudyard
Kipling's /wH^/c Book (1894). This period also saw the emergence of the picture
book, in which the illustrations — and the artist's vision — ^were at least as impor-
tant as the text. No longer anonymous, artists were aided by technical advances in
printing and a growing middle-class market for hooks.
Late in the eighteenth century illustrations by Thomas Bewick (1753-1828;
see cat. no. 22) and William Blake (1757-1827; see cat. no. 109) began to appear
in British children's books, laying the foundation for the practice of commission-
ing well-known artists to illustrate texts. Still, such high-quality illustrations remained
the exception rather than the rule. Until the mid-nineteenth century most books
were printed in black-and-white, primarily in the medium of wood engraving, with
the only color provided by the laborious and expensive process of hand-coloring.
After mid-century color printing was prevalent in children's books, though many
artists preferred the more reliable methods of black-and-white printing until the
1870s (see fig. 22\ cat. nos. 315, 331).
English caricaturist George Cruikshank (1792-1878) made some of the
most influential illustrations of the century when he created etchings for the 1823
German Popular Stories (see fig. 23, cat. no. 302), the first English translation of
the celebrated collection of folk tales published in German several years earher by
Jacob and Wilhelm Grimm. William Thackeray declared Cruikshank's illustra-
tions to be "the first real, kindly, agreeable and infinitely amusing and charming
illustrations in a child's book in England."" Cruikshank continued to influence the
genre of children's books with his illustrations for Charles Dickens's novels as well
as his retellings of favorite tales to emphasize his temperance behets, published in
the 1850s and 1860s (see title page; cat. nos. 167-69, 174).
In the second half of the nineteenth century technical and artistic inno-
vations led to the emergence of children's book illustration as a major artistic genre.
Nineteenth-
Century
Illustrators
Fig. 21 Richard Doyle, illustration from Jn Fairy-
land, by WiUiam Allingham, 1870 (cat. no. 317).
Klf arul Llwls.
37
keiC ^eb6)e.,q older) Ken., M^ Ay fron^t^e CfldVik,,
Fig. 22 George Cruikshank, illustration {wmjack
and the Beanstalk. 1854 (cat. no. 169).
Richard Doyle (1824-83), who contributed illustrations and political caricatures
to the British comic journal Punch in the 1840s and 1850s, later became famous
for his pictures of elves and fairies in such elaborate works as William Allingham's
In Fanylaud miQ; see figs. 20, 21; cat. nos. 317, 345).'^
The greatest advances in color printing came with the wood engravings
of Edmund Evans and his development of the toy book in the mid- 1860s. These
thin picture books consisting of eight pages, each printed on only one side, between
stiff paper covers, had existed since the beginning ot the Victorian era and were
published in great numbers by Dean and Son, Roudedge, and other firms, but usu-
ally without the participation of notable illustrators. Evans succeeded in engaging
such major artists as Randolph Caldecott (1846-86), Walter Crane (1845-1915),
and Kate Greenaway (1846-1901), engraving and printing the books himself and
working with publishers for distribution.'"
Each of these artists brought a different style to the Evans books. Crane
was influenced by WiUiam Morris and the Arts and Crafts movement as well as
by Japanese prints. He illustrated a variety of toy books tor Evans, including
38
alphabet books (see fig. 2, cat. no. 321), lairy talcs (sec cover, fig. 24; cat. nos. 322,
324), and nursery rhymes (see cat. no. 323), most published by Routledge before
1876."'Caldecott took inspiration from English caricaturists Cruikshank, William
Hogarth, and Thomas Rowlandson, and the stories he illustrated consisted pri-
marily of traditional English tales and nursery rhymes (see cat. nos. 339-41, 350,
351). Greenaway — who gained extraordinary popularity with the publication of
her first children's book. Under the IVindow, in 1878 — remained adored by the pub-
lic as well as by influential critic John Ruskin (see fig. 25, cat. no. 330). Often act-
ing as both author and illustrator, she is best known tor her idealized illustrations
of children in characteristic bonnets and quaint costumes in picturesque settings
recalling the English countryside (see fig. 25; cat. nos. 338, 342, 343, 346). Books
illustrated by these artists were also tremendously popular in the United States,
whose own publishing industry had not achieved the high technical standards
reflected in English picture books of the period. Evans dominated the industry
until his death in 1905, when commercial wood engraving was replaced by photo-
graphic reproduction processes.
Like Doyle, John Tenniel (1820-1914) had also worked for Punch but is
best known as the illustrator of A/ice's Adventures in Wonderland (fig. 26) and its
sequel, Through the Looking Glass (1872; cat. no. 370). Alice was one of the land-
marks of the nineteenth-century fantasy genre, helping to initiate a tradition ol
fantastical tales with no obvious moral. Working in close collaboration with author
Lewis CarroU, Tenniel created illustrations that set the standard tor a work that
has been interpreted by more than one hundred illustrators since its initial publi-
cation (see fig. 27; cat. nos. 369-81).
In 1880 Carlo Lorenzini (1826-90), under the pseudonym Collodi, wrote
The Adventures ofPinocchio (see fig. 28; cat. nos. 382-91), which was first published
in English in 1892. Collodi's story originally appeared as a serial in the Italian
magazine Giornale dei bambini and is one of the most inventive and complex ot
nineteenth-century fantasies. Late in the century in France Louis-Maurice Boutet
de Monvel (1851-1913) further refined the art of the picture book with the elab-
orate color lithographs for the \%'^b Jeanne dArc (Joan of Arc; cat. no. 364). Some
of the most important American book artists, such as Howard Pyle (1853-1911),
began as illustrators for the numerous juvenile periodicals that appeared during the
Reconstruction era (see cat. no. 392).
Fig. 23 George Cruikshank, illustration from
German Popular Stories, vol. 1, 1823 (cat. no. 302).
39
Fig. 24 Walter Crane, illustration from Beauty
ami the Beast, 1875 (cat. no. 326).
Fig. 25 Kate Greenaway, illustration from Under
the Window. 1878 {cat. no. 330).
Nineteenth-Century
Illustrators
301
George Cruiksh.mk (British, 1792-1878)
Fairburn's Dacriplion of the Popular New
Pimtomime Called Harlequin and Mother Goose,
lsor>
Published by John Fairburn, London
7'A in. (19 cm)
Richard Vogler Cruikshank Collection,
Grunwald Center for the Graphic Arts, UCLA
302
George Cruikshank (British, 1792-1878)
German Popular Stories, vol. 1, 1823
Published by C. Baldwyn, London
7'/4 in. (18.4 cm)
Richard Vogler Cruikshank Collection,
Grunwald Center tor the Graphic Arts, UCLA
Fig. 23
303
George Craikshank (British, 1792-1878)
German Popular Stories, vol. 2, 1826
Pubhshed by James Robins, London
7V4 in. (18.4 cm)
Richard Vogler Cruikshank Collection,
Grunwald Center tor the Graphic Arts, UCLA
304
George Cruikshank (British, 1792-1878)
Punch and Judy, 1828
Pubhshed by S. Prowett, London
8V2 in. (21.6 cm)
305
Richard Doyle (British, 1824-83)
The Story of Jack and the Giants, 1851
Pubhshed bv Cundall and Addey, London
8V2 in. (21.6 cm)
306
George Cruikshank (British, 1792-1878)
Hop o'My Thumb. 1S53
Published by David Bogue, London
7 in. (17.8 cm)
307
George Cruikshank (British, 1792-1878)
Illustrations from Hop o'My Thumb, 1853
Six hand-colored etchings
bVA. X 5 in. (17.1 X 12.7 cm) each
308
George Cruikshank (British, 1792-1878)
Jack and the Beanstalk, 1854
Pubhshed by Da\id Bogue, London
7 in. (17.8 cm)
309
George Cruikshank (British, 1792-1878)
Illustrations irom Jack and the Beanstalk, 1854
Six hand-colored etchings
6% X 5 in. (17.1 x 12.7 cm) each
310
A. H. Forrester (Alfred Crowquill, pseud.;
British, 1804-72)
Famous Fairy Tales, 1859
Published by Ward and Lock, London
9 in. (22.9 cm)
311
A. H. Forrester (Alfred Crowquill, pseud.;
British, 1804-72)
Sketchbook with watercolor illustrations for
The Two Sparrows, c. 1859
7W in. (19 cm)
312
Charles Bennett (British, 1828-67)
Nine Lives of a Cat, 1860
Pubhshed by Griffith and Farran, London
71/4 in. (18.4 cm)
313
A. H. Forrester (Alfred Crowquill, pseud.;
British, 1804-72)
Tales for Children, 1864
Published by Routledge, Warne, and Roudedge,
London
7y4 in. (18.4 cm)
314
Charles Bennett (British, 1828-67)
The Sorrowful Ending of Noodledoo, 1865
Pubhshed by Sampson Low, Son, and
Marston, London
91/4 in. (23.5 cm)
315
Arthur Boyd Houghton (British, 1836-75)
Dalziel's Illustrated Arabian Nights, vol. 1,
by H. W. Dulcken, 1865
Pubhshed by Ward, Lock, and Tyler, London
11 in. (27.9 cm)
316
Edward Lear (British, 1812-88)
Lear's Book oj Nonsense, 1865
Pubhshed by Frederick Warne, London
W/i in. (26.7 cm)
317
Richard Doyle (British, 1824-83)
In Fairyland, by William Allingham, 1870
Pubhshed by Longmans, Green, Reader,
and Dyer
15V4 in. (38.7 cm)
Figs. 20, 21
318
Attributed to Richard Doyle (British, 1824-83)
The Fames' Ball. c.\%7Q
Ink and gouache
13Vix 17 in. (34.3x43.2 cm)
319
Edward Henry Wehnert (British, 1813-68)
Grimm Fairy Library, 1 870
Box containing ten volumes
Published by George Routledge and Sons,
London and New York
Box: bVi X 7V4 x 5 in. (16.5 x 19.1 x 12.7 cm)
Books; bVi in. (16.5 cm) each
320
Eleanor Vere Boyle (British, 1825-1916)
Fairy Tales, by Hans Christian Andersen, 1872
Pubhshed bv Sampson Low, Marston, Low,
and Searle, London
12V^ in. (31.8 cm)
321
Walter Crane (British, 1845-1915)
Illustration iox Noah's Ark ABC, 1872
Watercolor
Il'/4x8y4 in. (29.2x22.2 cm)
322
Walter Crane (British, 1845-1915)
Bluebeard 1874
Pubhshed by George Roudedge and Sons,
London
9i6 in. (24.1 cm)
323
Walter Crane (British, 1845-1915)
Old Mother Hubbard. 1874
Pubhshed by George Routledge and Sons,
London
10 in. (25.4 cm)
324
Walter Crane (British, 1845-1915)
Puss in Boots, 1874
Pubhshed by George Roudedge and Sons,
London
10 in. (25.4 cm)
325
The Princess Hesse Schwartzbourg
Queens and Kings, 1874
Published by Chatto and Windus, New York
13Vi in. (34.3 cm)
326
Walter Crane (British, 1845-1915)
Beauty and the Beast, 1874
Pubhshed by George Roudedge and Sons,
London
10 in. (25.4 cm)
Fig. 24
42
327
Walter Crane (British, 1845-1915)
Goody Two Shoes, 1875
Published by George Routledge and Sons,
London and New York
lO'/i in. (26.7 cm)
328
Walter Crane (British, 1845-1915)
Tie Frog Prime, 1876
Published by George Routledge and Sons,
London and New York
lOVi in. (26.7 cm)
329
Randolph Caldecott (British, 1846-86)
Wood engraving block (or Join Gilpin, 1878
6>/4 X 5 X % in. (15.9 X 13.3 x 1.9 cm)
330
Kate Greenaway (British, 1846-1901)
Under the Window. 1878
Published by George Routledge and Sons,
London
9V4 in. (23.5 cm)
Fig. 25
331
Gustave Dore (French, 1832-83)
Swh.id the Sailor, 1879
Published by John and Robert Maxwell,
London
IIV2 in. (29.2 cm)
332
Walter Crane (British, 1845-1915)
Book with watercolor illustrations tor Lionel's
Travels, 1880
9 in. (22.9 cm)
333
Attributed to Kate Greenaway (British,
1846-1901)
Untitled, c. 1880
Pen and ink
21/2 x4V2 in. (6.4x10.8 cm)
334
Attributed to Kate Greenaway (British,
1846-1901)
Untitled, c. 1880
Watercolor
3V2X 3 in. (8.9x7.6 cm)
335
Jules Rostaing (French, b. 1824)
Curieux voyages de Polichinelle (Punch's strange
adventures), 1880
Published by Magnin et lils, Paris
8% in. (22.2 cm)
336
Walter Crane (British, 1845-1915)
Book with watercolor illustrations lor Lionel's
Latitudes, 1882
10 in. (25.4 cm)
337
Walter Crane (British, 1845-1915)
Study for Pothooks and Perseverance endpapers,
c. 1880-86
Watercolor
9x18 in. (22.9x45.7 cm)
338
Kate Greenaway (British, 1846-1901)
Pippen Hill, 1882
Pubhshed by McLoughlin Bros., New York
91/2 in. (24.1 cm)
339
Randolph Caldecott (British, 1846-86)
The Hcy-Diddle-Diddle Picture Book, 1883
Published by George Roudedge and Sons,
London and New York
8 in. (20.3 cm)
340
Randolph Caldecott (British, 1846-86)
Randolph Caldecott's Graphic Pictures, 1883
Published by George Routledge and Sons,
London and New York
11 in. (27.9 cm)
341
Randolph Caldecott (British, 1846-86)
Eight postcards from The House That Jack Built
and The Queen of Hearts, c. 1883
Published by Frederick Warne, London
51/4 X 31/2 in. (13.3 x 8.9 cm) each
342
Kate Greenaway (British, 1846-1901)
Kate Greenaway's Almanacks, 1883-1926
Selection of eleven volumes
Published by Frederick Warne, London, and
George Roudedge and Sons, London
4 in. (10.2 cm) each
343
Kate Greenaway (British, 1846-1901)
Little Ann, by Jane and Ann Taylor, 1883
Pubhshed by George Routledge and Sons,
London
9 in. (22.9 cm)
344
Louis-Maurice Boutet de Monvel (French,
1851-1913)
Chansons de France pour les petitsfranfais (Songs
of'France for French children), 1884
Published by Plon-Nourrit, Paris
9 in. (22.9 cm)
345
Richard Doyle (British, 1824-83)
The Princess Nobody, by Andrew Lang, 1884
Published by Longmans, Green and Company,
London
9V2 in. (24.1 cm)
346
Kate Greenaway (British, 1846-1901)
Marigold Garden. 1885
Published by George Routledge and Sons,
London
11 in. (27.9 cm)
347
Walter Crane (British, 1845-1915)
Slate and Pencil-vania, 1885
Published by Marcus Ward, London
8>/2 in. (21.6 cm)
348
Walter Crane (British, 1845-1901)
Pothooks and Perseverance, 1886
Published by Marcus Ward, London
9 in. (22.9 cm)
349
Walter Crane (British, 1845-1901)
A Romance of the Three 'Rs, 1886
Published by Marcus Ward, London
8^/4 in. (22.2 cm)
350
Randolph Caldecott (Brirish, 1846-86)
Randolph Caldecott's Picture Book
Pubhshed by Frederick Warne, London
9>/4 in. (23.5 cm)
351
Randolph Caldecott (British, 1846-86)
Randolph Caldecott's Picture Book Number 2,
1886
Published by George Routledge and Sons,
London and New York
91/4 in. (23.5 cm)
352
Richard Doyle (British, 1824-83)
Jack the Giant Killer, 1888
Published by Eyre and Spottiswoode, London
10 in. (25.4 cm)
353
Walter Crane (British, 1845-1915)
Sbi illustrations tor Flora's Feast, 1889
Watercolors
9 X 6% in. (22.9 x 17.1 cm) each
354
Walter Crane (British. 1845-1915)
Flora's Feast, 1889
Published by Cassell, London
10 in. (25.4 cm)
43
Fig. 26 Juhn Tenniel, illustration from Alice's
Adventures in Wonderlami, by Lewis Carroll, 1866
(cat. no. 369).
Fig. 27 Barr}' Moser, illustration from Lewis
Carroll's Alice's Adventures in Wonderland, 1982
(cat. no. 378). Used by permission of the artist.
Fig. 28 Enrico Mazzanti, illustration from
Le avventure di Pinocchio, by Carlo Collodi, 1883
(cat. no. 383).
355
Walter Crane (British, 1845-1915)
Floras Feast, 1889
Published by Cassell, London
10 in. (25.4 cm)
356
Kate Grecnaway (British, 184b-190U
Kate Greenaway's Book of Games, 1889
PubHshed by George Routledge and Sons,
London
9 in. (22.9 cm)
357
Randolph Caldecott (British, 1846-86)
The Milkmaid, z. \?,90
Published by George Routledge and Sons,
London
8 in. (20.3 cm)
358
Palmer Cox (Canadian, 1840-1924)
Another Brownie Book, 1890
PubUshed by the Century Company, New York
10 in. (25.4 cm)
359
Palmer Cox (Canadian, 1840-1924)
The Brownies Fishing, 1 890
Pen and ink
8% x8V4 in. (22.2x21 cm)
360
Palmer Cox (Canadian, 1840-1924)
Brownie Stamps, c. 1890
Published by Baumgarten, Baltimore
Box: 6 1/4 X 11 x 1 in. (15.9 x 27.9 x 2.5 cm)
361
A. de Ville d'Avray
Voyage dans la lime avant 1900 (Voyage to the
moon before 1900), 1892
Published byjouvet, Paris
9 in. (22.9 cm)
362
Palmer Cox (Canadian, 1840-1924)
The Brownie Books Poster, c. 1895
Color Hthograph
10x151/4 in. (25.4x38.7 cm)
363
Palmer Cox (Canadian, 1840-1924)
The Brownies in California, 1895
Pen and ink
11x11 in. (27.9x27.9 cm)
364
Louis-Maurice Boutet de Monvel (French,
1851-1913)
Jeanne d'Arc (Joan of Arc), 1896
Published by Plon-Nourrit, Paris
9y4 in. (24.8 cm)
365
Walter Crane (British, 1845-1901)
Beauty and the Beast Picture Book, 1900
Published by John Lane, London and New
York
105/4 in. (27.3 cm)
366
Walter Crane (British, 1845-1901)
Beauty and the Beast Picture Book, 1 900
PubUshed by John Lane, London and New
York
10^/4 in. (27.3 cm)
367
Walter Crane (British, 1845-1901)
AMascjueofDays, by Elia, 1901
Published by Cassell, London
ll'/4 in. (28.6 cm)
368
Kate Greenaway (British, 1846-1901)
The Pied Piper ofHamelin, by Robert Browning,
1910
Published by Frederick Warne, London and
New York
10 in. (25.4 cm)
Alice in Wonderland
369
JohnTenniel (British, 1820-1914)
Alice's Adventures in Wonderland, by Lewis
Carroll, 1866
Published by Macmillan and Co., London
7'/: in. (19 cm)
Fig. 26
370
JohnTenniel (British, 1820-1914)
Through the Looking Glass, and What Alice Found
There, by Lewis Carroll, 1872
Published by Macmillan and Co., London
7Vi in. (19 cm)
371
Lewis Carroll [pseud. Charles Lutwidge
Dodgson] (British, 1832-98)
Alice's Adventures Underground, 1886
Published by Macmillan and Co., London and
New York
7^2 in. (19 cm)
372
JohnTenniel (British, 1820-1914)
The Nursery Alice, " by Lewis Carroll, 1890
PubHshed by Macmillan and Co., London
10 in. (25.4 cm)
373
Peter Newell (American, 1862-1924)
Alice's Adventures in Wonderland, by Lewis
CarroU, 1901
Published by Harper and Bros., London and
New York
9 in. (22.9 cm)
374
Arthur Rackham (British, 1867-1939)
Alice's Adventures in Wonderland, by Lewis
Carroll, 1907
Published by Doubleday, Page and Co., New
York
11V4 in. (28.6 cm)
375
Anonymous artist
Alice in Wonderland, by Lewis Carroll, 1921
Published by Raphael Tuck and Sons, London
9 in. (22.9 cm)
376
Bessie Pease
Alice's Adventures in Wonderland, by Lewis
Carroll, 1934
PubUshed by J. Coker and Co., London
low in. (26 cm)
377
Barry Moser (American, b. 1940)
Lewis Carroll's Alice's Adventures in Wonderland,
1982
PubUshed by Pennyroyal Press, West Hatfield,
Mass.
17 in. (43.2 cm)
Fig. 27
378
Barry Moser (American, b. 1940)
lUustrations from Letvis Carroll's Alice's
Adventures in Wonderland, 1982
Twelve wood engravings
PubUshed by Pennyroyal Press, West Hatfield,
Mass.
161.6 X 1 1 in. (41.9 X 27.9 cm) each
Fig. 27
379
Michael Hague (American)
Alice's Adventures in Wonderland, bv Lewis
CarroU, 1985
PubUshed bv Methuen Children's Books,
London
IOV4 in. (26 cm)
380
JohnTenniel (British, 1820-1914)
lUustrations {rom Alice's Adventures in Wonder-
land, by Lewis CarroU, 1865 (printed 1988)
Sixteen wood engravings
Published by Macmillan and Co., London
9^2 X 7 in. (24.1 x 17.8 cm) each
46
381
JohnTenniel (British, 1820-1914)
Illustrations from Through the Looking Glass,
tint] What Alice Found There, by Lewis Carroll
1872 (printed 1988)
Wood engravings
Published by Macmlllan and Co., London
9>/ix 7 in. (24.1x17.8 cm) each
Pitiocchio
382
Four Pinocchio dolls
Wood
H: 4V2 in. (11.4 cm) to W/i m. (47 cm)
383
Enrico Mazzanti (Italian, b. 1852)
Le avventure di Pinocchto, by Carlo CoUodi,
1883
Published by Fehce Paggi Libraio, Florence
7>/im. (18.4 cm)
Fig. 28
389
P'iorenzo Faorzi
/.(■ tivventure t/i Pinocchio, by Carlo CoUodi,
19.VS
Pubhshed by Adriano Salani, Florence
7'/4 in. (18.4 cm)
390
Richard Floethe
Pinocchio, by Carlo Collodi, 1937
Published by the Limited Editions Club,
New York
10'4 in. (26 cm)
391
The Walt Disney Parade, 1940
Published by Garden City Publishing, Garden
City, N.Y.
IIV4 in. (28.6 cm)
384
Enrico Mazzanti (Italian, b. 1852)
The Story of a Puppet; or. The Adventures of
Pmocchio, by Carlo CoUodi, 1892
PubUshed by T. Fisher Unwin, London
6% in. (16.5 cm)
385
AttiUo Mussino (Italian, 1878-1954)
The Adventures of Pinocchio, by Carlo CoUodi,
1929
PubUshed by MacmiUan and Co., New York
111/2 in. (29.2 cm)
386
Maud (Hungarian, 1890-1971) and Miska
Petersham (Hungarian, 1888-1960)
Pinocchio, by Carlo CoUodi, 1932
PubUshed by Garden Citv PubUshing, Garden
City, N.Y.
9 in. (22.9 cm)
387
Harold B. Lentz
The Pop-up Pinocchio, 1933
PubUshed by Blue Ribbon Books, New York
81/2 in. (21.6 cm)
388
Harold B. Lentz
The Pop-up Pinocchio, 1933
Published by Blue Ribbon Books, New York
8y2 in. (21.6 cm)
47
n this century near-universal literacy in developed countries and
technical advances that have made it possible to produce relatively
inexpensive high-quality illustrated books have contributed to tremen-
dous growth in children's publishing. Innovations in book printing in
the early years of the century, particularly in the use of photography and four-color
processing, led to the development of the deluxe gift book, which expanded upon
the rich tradition of Edmund Evans. Elaborate watercolors by Edmund Dulac
(1882-1953), Kay Nielsen (1886-1957), and Arthur Rackliam (1867-1939) in
England, and the paintings of Maxfield Parrish (1870-1966) and N. C. Wyeth
(1882-1945) in the United States, became the hallmarks ot these books, with illus-
trations printed on special glossy paper and tipped into the pages. The works of
Rackham, Dulac, and Nielsen varied in style and inspiration. Rackham empha-
sized line, using pen and ink with watercolor to create evocative illustrations for
fairy tales and other stories (see fig. 29; cat. nos. 404-7, 428, 429). Dulac's and
Nielsen's work was noted tor its colorism and influences drawn from Eastern artis-
tic sources such as Persian miniatures. A notable example ot Nielsen's intricate and
exotic style is a suite of watercolor illustrations for a never-published version of
One Thousand and One Nights (see fig. 30; cat. nos. 410, 412-27). Pubhc demand
for deluxe picture books diminished after World War I. While interest in Rack-
ham's books persisted, younger artists such as Nielsen, who published only tour
books of fairy tales, never achieved such sustained renown.'
Also dating to the early part of the century, books by Beatrbc Potter dit-
fered in style from the deluxe gift books, and her small, cozy books — designed so
that even very young children could comfortably hold them — instead tollow the
picture book tradition of Caldecott. Her Tale of Peter Rabbit wi.s first privately pub-
lished by the author in 1901 (cat. no. 398), with a colored frontispiece and other
The Twentieth
Century
Fig. 29 (opposite) Arthur Rackham, untitled,
I904(cat. no. 404).
Fig. 30 Kay Nielsen, The Tale of King Yunan and
Dtilhiu the Doctor, from One Thousand and One
Nighti. 1917 (cat. no. 410).
49
^
-?'•
<'
^
Fig. 31 Dr. Seuss, drawing for / Can Lid Thirty
Tigen Today! 1969 (cat. no. 477). ® Dr. Seuss
Enterprises, L.P. 1969, 1997. Used hy permission.
All rights reserved.
illustrations in black-and-white, but was soon followed by numerous editions with
full-color plates (see cat. no. 400).
In the United States early twentieth-century color printing technology
made the simple black-and-white illustrations favored by Pyle and his contempo-
raries seem outmoded. W. W. Denslow's illustrations for L. Frank Baum's Won-
derful Wizard of Oz (1900; cat. no. 396) included one hundred two-color images
and twenty- tour fuU-color plates, making it one of the most elaborate books of its
time. Many illustrators continued to explore the possibilities of black-and-white,
however. For example, Wanda Gag's creative integration of line illustration and
text in Millions of Cats (1928; cat. no. 433) made her the first important American
author-iUustrator.
The earliest picture books by Theodor Geisel, better known as Dr. Seuss,
date from the 1930s and also reflect the importance of the author-illustrator in
twentieth-century children's books. Geisel was a former magazine cartoonist, and
his preliminary drawings reveal a complex process of merging text and illustration
to create his witty and lively "logical nonsense" (see figs. 31, 32; cat. nos. 444-78).
Lucille and HoUing C. HoUing's books of the 1940s evince a nostalgia for prein-
dustrialized America, with rich illustrations and texts focusing on the country's
natural resources and on Native Americans' interactions with the environment (see
figs. 33, 34; cat. nos. 479-87).
Children's literature today is comparable to popular adult literature in its
range and diversity of genres, with books designed tor readers at every stage of
development, from intancy to young adulthood. The continued vitalit}' ot children's
publishing, despite competition from a host of newer media, suggests that the illus-
trated storybook remains unparalleled in its ability to nurture the imagination and
to provide both instruction and delight.
Fig. 32 Dr. Seuss, drawing for McEUigot J Pool
{" . . . that there IS something bigger"), 1947 (cat.
no. 451). '° Dr. Seuss Enterprises, L.P. 1947. 1974.
Used by permission. All rights reserved.
A jiih ikji'i 10 bi^. if imt hioit uhiil I nil.
That lit mihs a ubalt twk Ith J "iiy laidti
51
Fig. 33 Holling C. Hollmg, illustration for
P,uldle-lo-tht-Sai, 1941 (cat. nos. 480,481).
The Twentieth Century
392
Howard Pyle (American, 1853-1911)
The Wonder Clock. 1888
Published by Harper and Bros., New Yorlv
10 in. (25.4 cm)
393
Charles Ricketts (British, 1866-1931) and
Charles Hazclwood Shannon (British,
1863-1937)
A Home of Pomegranates, by Oscar Wilde, 1891
Published by James R. Osgood, London
83/4 in. (22.2 cm)
Collection of the William Andrews Clark
Memoriiil Library, UCLA
394
Jose Guadalupe Posada (Mexican, 1852-1913)
Biblioteca del nino mexicano (The Mexican
chUd'shbrary), 1899-1901
Selection ot twelve volumes
4% in. (12.1 cm) each
Collection ot the Grunwald Center for the
Graphic Arts, UCLA, gift of Professor and
Mrs. Stanley L. Robe
395
Victor Vasnetsov (Russian, 1848-1926)
The Tale ofOleg the Seer, by Alexander Pushkin,
1899
Published by the Office of Government Papers,
Saint Petersburg
13'/4 in. (33.7 cm)
396
William Wallace Denslow (American,
1856-1915)
The Wonderful Wizard of Oz, by L. Frank
Baum, 1900
Published by George M. Hill, Chicago and
New York
9 in. (22.9 cm)
397
Ivan Bilihin (Russian, 1872-1942)
Rmuan Folklore. 1901
13'/4in.(33.7cm)
398
Beatrix Potter (British, 1866-1943)
The Tale of Peter Rahhit. 1901
Privately published
5y4 in. (13.3 cm)
399
Beatrk Potter (British, 1866-1943)
The Tailor of Gloucester. 1902
Privately published
5'/4 in. (13.3 cm)
400
Beatrix Potter (British, 1866-1943)
TheTale of Peter Rabbit. 1902
Published by Frederick Warne, London
S'/j in. (14.6 cm)
401
Ivan BUibin (Russian, 1872-1942)
Volga. 1904
Published by Ivan Bilibin, Saint Petersburg
15 in. (38.1 cm)
Fig. 36
402
Henry Justice Ford (British, 1860-1941)
Illustration for Rubezahl and the Princess, from
The Brown Fairy Book, 1904
Gouache
1 P/4 X 7 '/4 in. (29.8x18.4 cm)
403
Henry Justice Ford (British, 1860-1941)
The Robber Chief Catches the Queen, c. 1904
Ink drawing
9'/2x7'/2 in. (24.1x19 cm)
404
Arthur R..ckham (British, 1867-1939)
Untitled, 1904
Watercolor and ink
14x11 in. (35.6x27.9 cm)
Fig. 29
405
Arthur Rackham (British, 1867-1939)
Untitled, c. 1904
Watercolor and ink
Made for the National Book League, London
12'/2X 95/4 in. (31.8x24.8 cm)
406
Arthur Rackham (British, 1867-1939)
Peter Pan in Kensington Gardens, by J. M.
Barrie, 1907
Published by Hodder and Stoughton, London
10 in. (25.4 cm)
407
Arthur Rackham (British, 1867-1939)
Grimms' Fairy Tales, 1909
Pubhshed by Constable and Co., London
liy4 in. (29.8 cm)
Fig. 34 HoUing C. HoUing, painted wooden
model for Paddle-to-the-Sea. 1941 (cat. no. 480).
53
408
Edmund Dulac (French, 1882-1953)
The Sleeping Beauty and Other Fairy Talei, 1910
Published by Hodder and Stoughton, London
ll'/4 in. (28.6 cm)
409
Edmund Dulac (French, 1882-1953)
Edmund Dulac's Fairy Book, 1916
Published by Hodder and Stoughton, London
11 in. (27.9 cm)
410
Kay Nielsen (Danish, 1886-1957)
The Tale of King Yunati and Duhiin the Doctor.
from One Thousand and One Nighti, 1917
Watercolor
13 V^ X 13 y^ in. (34.3x34.3 cm)
Collection of the Grunwald Center for the
Graphic Arts, UCLA, gift of the Kay Nielsen
Memorial Fund
Fig. 30
411
Ben Kutcher (Russian, b. 1895)
A Home of Pomegranate!, bv Oscar Wilde, 1918
Published by Moffat, Yard, and Co., New York
8^4 in. (22.2 cm)
Collection of the William Andrews Clark
Memorial Library, UCLA
412
Kay Nielsen (Danish, 1886-1957)
The First Tale, from One Thousand and One
Nights, 1918-22
Watercolor
13y2 X 13;^ in. (34.3 x 34.3 cm)
Collection ot the Grunwald Center tor the
Graphic Arts, UCLA, gift of the Kay Nielsen
Memorial Fund
413
Kay Nielsen (Danish, 1886-1957)
The Merchant's Tale of the Young Thief, from One
Thousand and One Nights, 1918-22
Watercolor
13Wxl3Vi in. (34.3x34.3 cm)
Collection of the Grunwald Center for the
Graphic Arts, LICLA, gift of the Kay Nielsen
Memorial Fund
414
Kay Nielsen (Danish, 1886-1957)
The Physician's Tale of a Young Man Loved by
Two Sisters, from One Thousand and One Nights,
1918-22
Watercolor
13'/2 X 131/2 in. (34.3 X 34.3 cm)
Collection of the Grunwald Center for the
Graphic Arts, UCLA, gift of the Kay Nielsen
Memorial Fund
415
K.iy Nielsen (Danish, 1886-1957)
Scheherazade Telling the Tales, from One
Thousand and One Nights, 1918-22
Watercolor
14 xl3'/2 in. (35.6x34.3 cm)
Collection of the Grunwald Center for the
Graphic Arts, UCLA, gift of the Kay Nielsen
Memorial Fund
416
Kay Nielsen (Danish, 1886-1957)
The History ofNoureddin Ali and Bedreddin
Hassan, from One Thousand and One Nights,
1918-22
Watercolor
13W X W/i in. (34.3 x 34.3 cm)
Collection of the Grunwald Center for the
Graphic Arts, UCLA, gift of the Kay Nielsen
Memorial Fund
417
Kay Nielsen (Danish, 1886-1957)
The Steward's Tale of the Sultan's Wife's Favorite,
from One Thousand and One Nights, 1918-22
Watercolor
131/2 xl3y2 in. (34.3x34.3 cm)
Collection of the Grunwald Center for the
Graphic Arts, UCLA, gift of the Kay Nielsen
Memorial Fund
Fig. 35
418
Kay Nielsen (Danish, 1886-1957)
The Tale of the Enchanted King of the Black
Islands, from One Thousand and One Nights,
1918-22
Watercolor
14 xl3V4 in. (35.6x33.7 cm)
Collection of the Grunwald Center for the
Graphic Arts, UCLA, gift of the Kay Nielsen
Memorial Fund
419
Kay Nielsen (Danish, 1886-1957)
The Tale of the First Dervish, from One Thou-
sand and One Nights, 1918-22
Watercolor
13V2 X 13y2 in. (34.3 x 34.3 cm)
Collection of the Grunwald Center for the
Graphic Arts, UCLA, gift of the Kay Nielsen
IVIemori;il Fund
420
Kay Nielsen (Danish, 1886-1957)
The Tale of the First Girl, trom One Thousand
and One Nights, 1918-22
Watercolor
14x14 in. (35.6x35.6 cm)
Collection of the Grunwald Center for the
Graphic Arts, LICLA, gift of the Kay Nielsen ,
Memorial Fund
421
Kay Nielsen (Danish, 1886-1957)
The Tale of the Little Hunchback, from One
Thousand and One Nights, 1918-22
Watercolor
14x14 in. (35.6x35.6 cm)
Collection of the Grunwald Center for the
Graphic Arts, UCLA, gift of the Kay Nielsen
Memorial Fund
422
Kay Nielsen (Danish, 1886-1957)
The Tale of the Second Dervish, from One
Thousand and One Nights, 1918-22
Watercolor
14x14 in. (35.6x35.6 cm)
Collection of the Grunwald Center for the
Graphic Arts, UCLA, gift of the Kay Nielsen
Memorial Fund
423
Kay Nielsen (Danish, 1886-1957)
The Tale of the Third Dervish, from One
Thousand and One Nights. 1918-22
Watercolor
14x14 in. (35.6x35.6 cm)
Collection ot the Grunwald Center tor the
Graphic Arts, UCLA, gift of the Kay Nielsen
Memorial Fund
424
Kay Nielsen (Danish, 1886-1957)
The History ofNoureddin Ali and Bedreddin
Hassan, from One Thousand and One Nights,
1919
Watercolor
nVi X 13V2 in. (34.3 X 34.3 cm)
Collection of the Grunwald Center for the
Graphic Arts, LICLA, gift of the Kay Nielsen
Memorial Fund
425
Kay Nielsen (Danish, 1886-1957)
The Tailor's Tale of the Lame Young Man and the
Barber of Baghdad, from One Thousand and One
Nights, \9\9
Watercolor
133/4 X 13% in. (34.9 X 34.9 cm)
Collection of the Grunwald Center for the
Graphic Arts, UCLA, gift of the Kav Nielsen
Memorial Fund
426
Kay Nielsen (Danish, 1886-1957)
The Tale of King Sinbad and the Falcon, from
One Thousand and One Nights, 1919
Watercolor
13 V^ X nVi in. (34.3 x 34.3 cm)
Collection of the Grunwald Center tor the
Graphic Arts, LICLA, gift of the Kay Nielsen
Memorial Fund
S4
Fig. 35 Kay Nielsen, The Steward's Tale of the
Sultans H^ife's Faz'orite, from One Thousand and
One Nights. 1918-22 (cat. no. 417).
H.PHAMrHHfI.1'59'^
Fig. ,% Ivan Bilibin, Vo/ga. 1904 (cat. no. 401).
427
Kay Nielsen (Danish, 1886-1957)
The Tale of the Fint Derinsh, from One Thomand
and One Nights. 1919
Watercolor
13^/4x14 in. (34.9x35.6 cm)
Collection ot the Grunwald Center for the
Graphic Arts, UCLA, gift of the Kay Nielsen
Memorial Fund
428
Arthur Rackham (British, 1867-1939)
Illustration lor The Bogey Beast, trom English
Fairy Tales, 1919
Watercolor and ink
9% x8Vi in. (24.8x21.6 cm)
429
Arthur Rackham (British, 1867-1939)
English Fairy Tales, 1919
Published by MacmiUan and Co., New York
81/4 in. (21 cm)
430
William Nicholson (British, 1872-1949)
The Velveteen Rabbit, by Margery WiUiams,
1922
Published by Heinemann, London
9V^ in. (24.1cm)
431
Aldous Huxley (British, 1894-1963)
Sketchbook with watercolor illustrations for
Noa, 1924
SVi in. (14 cm)
432
Maxfield Parrish (American, 1870-1966)
The Knave of Hearts by Louise Saunders, 1 925
Published by Charles Scribner's Sons, New
York
14 in. (35.6 cm)
433
Wanda Gag (American, 1893-1946)
Millions of Cats, 1928
PubUshed by Coward-McCann, New York
6y4 in. (17.1cm)
434
Lois Lenski (American, b. 1893)
The Little Engine That Could, by Watty Piper,
1930
Pubhshed by Plan and Munk, New York
SVj in. (21.6 cm)
435
Jean de Brunhoff (French, 1899-1937)
Bahar en famille (Babar and his family), 1938
Published by Hachette, Paris
14V6 in. (36.8 cm)
436
Robert Lawson (American, 1892-1957)
The .Story of Ferdinand, by Munro Leaf, 1938
Published by Viking, New York
8'/4in. (21 cm)
437
Leo Politi (American, 1908-96)
Pedro, the Angel of Olvera Street, 1946
Published by Charles Scribner's Sons,
New York
8'/2 in. (21.6 cm)
438
Jean Chariot (French, 1898-1974)
Two Little Trains, by Margaret Wise Brown,
1949
Published by William Scott, New York
10 in. (25.4 cm)
439
Leo Pohti (American, 1908-96)
SongoftheSivallows, 1949
Published by Charles Scribner's Sons,
New York
10'/4 in. (26 cm)
440
Leo Politi (American, 1908-96)
Pedro, el Angel de la Calle Olvera. 1961
Published by Charles Scribner's Sons,
New York
81/2 in. (21.6 cm)
441
Maurice Sendak (American, b. 1928)
The Juniper Tree and Other Tales from Grimm,
vol. 2, 1973
Pubhshed by Farrar, Strauss, and Giroax,
New York
7V4 in. (18.4 cm)
442
Joyce Lancaster Wilson
A Child's Garden of Verses, by Robert Louis
Stevenson, 1978
Published by the Press in Tuscany Alley,
San Francisco
10 in. (25.4 cm)
443
Barry Moser (American, b. 1940)
The Wonderful Wizard ofOz, by L. Frank
Baum, 1985
PubUshed by Pennyroyal Press, West Hatfield,
Mass.
13 in. (33 cm)
Dr. Seuss
444
Dr. Seuss (pseud. Theodor Geiscl; American,
1904-91)
Drawing for The 500 Hats of Bartholomew
Cubhins (front and back cover), 1938
Charcoal, pencil, and ink
13x20 in. (33x50.8 cm)
The Dr. Seuss Collection, Mandeville Special
Collections Library, UC San Diego
445
Dr. Seuss (pseud. Theodor Geisel; American,
1904-91)
Drawing for The 500 Hats of Bartholomew
Cubbins ("No! You look at me"), 1938
Charcoal, pencil, and ink
18x24 in. (45.7x61 cm)
The Dr. Seuss Collection, Mandeville Special
Collections Library, UC San Diego
446
Dr. Seuss (pseud. Theodor Geisel; American,
1904-91)
Drawing for The 500 Hats of Bartholomew
Cubhins ("Suddenly Sir Alaric stopped"), 1938
Charcoal, pencil, and ink
16 X 22 in. (40.6 x 55.9 cm)
The Dr. Seuss Collection, Mandeville Special
Collections Library, UC San Diego
447
Dr. Seuss (pseud. Theodor Geisel; American,
1904-91)
Drawing for The 500 Hats of Bartholomew
Cubbins ("Black magic, that's just what it is"),
1938
Charcoal, pencil, and ink
18x22 in. (45.7x55.9 cm)
The Dr. Seuss Collection, Mandeville Special
Collections Library, UC San Diego
448
Dr. Seuss (pseud. Theodor Geisel; American,
1904-91)
Drawing for The 500 Hats of Bartholomew
Cubhins ("But when Bartholomew stepped up
on the wall . . ."), 1938
Charcoal, pencil, and ink
18x13 in. (45.7x33 cm)
The Dr. Seuss Collection, Mandeville Special
Collections Library, UC San Diego
449
Dr. Seuss (pseud. Theodor Geisel; American,
1904-91)
The 500 Hats of Bartholomew Cubbins, 1938
Published by Vanguard, New York
12V4 in. (31.1cm)
57
450
Dr. Seuss (pseud. Theodor Geisel; American,
1904-91)
Drawing for The King's Stilts ("This was the
moment King Birtram lived for"), 1939
Ink and watercolor on board
12x20 in. (30.5x50.8 cm)
The Dr. Seuss Collection, Mandeville Special
Collections Librar)', UC San Diego
451
Dr. Seuss (pseud. Theodor Geisel; American,
1904-91)
Drawing for MiE//igot's Pool (". . . that there IS
something bigger"), 1947
Pencil, ink, and watercolor on board
14x21 in. (35.6x53.3 cm)
The Dr. Seuss Collection, Mandeville Speci;il
Collections Library, UC San Diego
Fig. 32
452
Dr. Seuss (pseud. Theodor Geisel; American.
1904-91)
McEIIigot's Pool 1947
Published by Random House, New York
11V4 in. (28.6 cm)
453
Dr. Seuss (pseud. Theodor Geisel; American,
1904-91)
Endpapers iot Ifl Ran the Zoo, 1950
Ink on board
16y2 X 241/4 in. (41.9 X 61.6 cm)
The Dr. Seuss Collection, Mandeville Special
Collections Librar); UC San Diego
454
Dr. Seuss (pseud. Theodor Geisel; American,
1904-91)
Ifl Ran the Zoo. 1950
PubHshed by Random House, New York
121/4 in. (31.1cm)
455
Dr. Seuss (pseud. Theodor Geisel; Anierican,
1904-91)
Drawing for On Beyom/ Zebra! ("There's a
letter caUed \'EKK"), 1955
Ink on board
15x22 in. (38.1x55.9 cm)
The Dr Seuss CoUection, Mandeville Special
Collections Library, LIC San Diego
456
Dr. Seuss (pseud. Theodor Geisel; American,
1904-91)
Drawing for On Beyond Zebra! ("Most people
are scared to go on and beyond"), 1955
Ink on board
14x21 in. (35.6x53,3 cm)
The Dr. Seuss Collection, Mandeville Special
Collections Library, UC San Diego
58
457
Dr. Seuss (pseud. Theodor Geisel; Anierican,
1904-91)
On Beyond Zebra! X'iSS
Published by Random House, New York
111/4 in. (28.6 cm)
458
Dr. Seuss (pseud. Theodor Geisel; American,
1904-91)
Cover layout for The Cat in the Hat, 1 957
Ink on board with acetate overlay
151/4 X 221^ in. (38.7 x 57.2 cm)
The Dr. Seuss Collection, Mandeville Special
Collections Library, UC San Diego
459
Dr. Seuss (pseud. Theodor Geisel; Anierican,
1904-91)
Drawing for The Cat in the Hat ("Look at me"),
1957
Ink on board with ink and colored pencil on
tissue overlay
13V^x 22 in. (34.3x55.9 cm)
The Dr. Seuss Collection, Mandeville Speciid
Collections Library, UC San Diego
460
Dr. Seuss (pseud. Theodor Geisel; American,
1904-91)
The Cat in the Hat. 1957
Published by Random House, New York
9 1/4 in. (23.5 cm)
461
Dr. Seuss (pseud. Theodor Geisel; American,
1904-91)
Drawing for How the Grineh Stole Christmas!
("And the Grineh grabbed the tree"), 1957
Ink on board
201/4 X 26^4 in. (51.4 X 67.9 cm)
The Dr. Seuss Collection, Mande\dlle Special
Collections Library, UC San Diego
462
Dr. Seuss (pseud. Theodor Geisel; American,
1904-91)
How the Grineh Stole Christmas! 1957
Published by Random House, New York
111/4 in. (28.6 cm)
463
Dr. Seuss (pseud. Theodor Geisel; .Ajiierican,
1904-91)
Color rough for Happy Birthday to You! ("And
so, as the sunset burns red in the west"), 1959
127s X 191/4 in. (32.7 x 48.9 cm)
The Dr. Seuss Collection, Mande\ille Special
Collections Library, UC San Diego
464
Dr. Seuss (pseud. Iheodor Geisel; American,
1904-91)
Drawing for Happy Birthday to You! (pages
30-31), 1959
Gouache on board
13 X 191/4 in. (33 X 48.9 cm)
The Dr. Seuss Collection, Mandeville Special
Collections Library, UC San Diego
465
Dr. Seuss (pseud. Theodor Geisel; American,
1904-91)
Drawing tor Happy Birthday to You! (pages
32-33), 1959
Gouache on board
13 X \9^/z in. (33 X 49.5 cm)
The Dr. Seuss Collection, Mandeville Special
Collections Library, UC San Diego
466
Dr. Seuss (pseud. Theodor Geisel; American,
1904-91)
Drawing for Happy Birthday to You! (pages
34-35), 1959
Gouache on board
13x191/4 in. (33 x 48.9 cm)
The Dr. Seuss Collection, Mande\'ille Special
Collections Library, UC San Diego
467
Dr. Seuss (pseud. Theodor Geisel; .American,
1904-91)
Drawing for Happy Birthday to You! (pages
40-41), 1959
Gouache on board
13 xl9V4 in. (33x49.5 cm)
The Dr. Seuss Collection, Mandeville Special
Collections Librar}; UC San Diego
468
Dr. Seuss (pseud. Theodor Geisel; American,
1904-91)
Drawing for Happy Birthday to You! (pages
48-49), 1959
Gouache on board
13 X 191^ in. (33 X 49.5 cm)
The Dr. Seuss Collection, Mandeville Special
Collections Library, UC San Diego
469
Dr. Seuss (pseud. Theodor Geisel; American,
1904-91)
Happy Birthday to You! 1959
Published by Random House, New York
11 in. (27.9 cm)
470
Dr. Seuss (pseud. Theodor Geisel; .\merican,
1904-91)
Drawing for Green Eggs and Ham ("Sam I
am"), 1960
Pencil and colored pencil
81^x11 in. (21.6x27.9 cm)
The Dr. Seuss Collection, Mandeville Special
Collections Library, UC San Diego
471
Dr. Seuss (pseud. Theodor Geisel; American,
1904-91)
Drawing for Green Eggs and Ham ("Do you
like"), 1960
Pencil and colored pencil
8>/2xll in. (21.6x27.9 cm)
The Dr. Seuss Collection, Mandeviile Special
Collections Library, UC San Diego
472
Dr. Seuss (pseud. Theodor Geisel; American,
1904-91)
Drawing for Green Eggs and Ham ("Say! 1 like
green eggs and ham"), 1960
Ink on board with ink and colored pencil on
tissue overlay
15x20 in. (38.1x50.8 cm)
The Dr. Seuss Collection, Mandeviile Special
Collections Library, UC San Diego
473
Dr. Seuss (pseud. Theodor Geisel; American,
1904-91)
Green Eggs and Ham, 1 960
Published by Random House, New York
91/4 in. (23.5 cm)
474
Dr. Seuss (pseud. Theodor Geisel; American,
1904-91)
Drawing for Dr Seuss's Sleep Book (title page),
1962
Ink on board
9 XI2V2 in. (22.9x31.8 cm)
The Dr. Seuss Collection, Mandeviile Special
Collections Library, UC San Diego
475
Dr. Seuss (pseud. Theodor Geisel; American,
1904-91)
Drawing for Dr. Seuss's Sleep Book ("Ninety-
nine zillion"), 1962
Ink on board
12^x18 in. (31.8x45.7 cm)
The Dr. Seuss Collection, Mandeviile Special
Collections Library, UC San Diego
476
Dr. Seuss (pseud. Theodor Geisel; American,
1904-91)
Dr. Seuss's Sleep Book, 1962
Published by Random House, New York
111/4 in. (28.6 cm)
477
Dr. Seuss (pseud. Theodor Geisel; American,
1904-91)
Drawing for / Can Lick Thirty Tigers Today!
1969
Gouache on board
111/2 X 161/4 in. (29.2 x 41.3 cm)
The Dr. Seuss Collection, Mandeviile Special
Collections Library, UC San Diego
Fig. 31
478
Dr. Seuss (pseud. Theodor Geisel; American,
1904-91)
/ Can Lick Thirty Tigers Today! 1969
Pubhshed by Random Mouse, New York
ll'/4 in. (28.6 cm)
Holling C. Hollmg
479
HoUmg C. Holling (American, 1900-1973)
Wooden model (or Paddle-to-the-Sea. 1941
12 x2 X 3 in. (30.5x5.1 X 7.6 cm)
480
Holling C. HoUing (American, 1900-1973)
Painted wooden model for Paddle- to-the-Sea,
1941
12 X 2 X 3 in. (30.5 x 5.1 x 7.6 cm)
Figs. 33, 34
481
Hollmg C. Holling (American, 1900-1973)
Illustrations for Paddle-to-the-Sea, 1941
Seven watercolors
12V4X 10 in. (31.1 X 25.4 cm) each
Fig. 33
482
Hollmg C. Holling (American, 1900-1973)
Paddle-to-the-Sea, 1941
Published by Houghton Mifflin, Boston
UVa in. (28.6 cm)
483
HoUing C. Holling (American, 1900-1973)
Paddle-to-the-Sea, 1941
Published by Houghton Mifflin, Boston
imm. (28.6cm)^
484
HoUmg C. Holling (American, 1900-1973)
Illustrations for Tree in tie Trail 1942
Three watercolors
17 x 12 in. (43.2 x 30.5 cm); 14 V2 x 11 in.
(36.8 X 27.9 cm); I51/4 x 13 in. (38.7 x 33 cm)
485
Holling C. Holling (American, 1900-1973)
Wooden model for Tree in the Trail 1942
5y2 X 41/2 X 2 in. (14 X 11.4 X 5.1 cm)
486
Holling C. Holling (American, 1900-1973)
Tree in the Trail 1942
Published by Houghton Mifflin, Boston
IIV4 in. (28.6 cm)
487
Holling C. Holling (American, 1900-1973)
Paddle-to-the-Sea, 1945
Pubhshed by CoUins, London
111/4 in. (28.6 cm)
59
A"s and Lirenturc
' of Childreiis Litcratute
World btnti
m
NOTES
1. See Early ChiUiren\ Booh and Thetr lUintra-
ttons (New York: Pierpont Morgan Library,
1975), p. 213.
2. See Gillian Avery, "The Beginnings of
Children's Reading to c. 1700," in Children's
Literature. An Illmtrnted Hntory, ed. Peter Hunt
(Oxford and New York: Oxford University
Press, 1995), p. 13.
3. GiUian Avery notes that there were precedents
for the seventeenth-century idea ot pleasure in
learning and cites early e.xamples of this inter-
est in such works as Roger Ascham's The
Schoolmaster (1570); see ibid., p. 11.
4. Quoted in Cornelia Meigs et al., A Critical
History of Children's Literature: A Survey of
Children's Books in English, rev. ed. (New York:
Macmillan, 1969),p. 54.
5. For a discussion of the origins of the idea of
childhood and its relationship to art, see James
Seward, The New Child, exh. cat. (Berkeley:
Art Museum, University of California, 1996),
p. 82ff
6. See S. Roscoe, John NewBery and His Successors,
1740~lSl-f (Wormley: Five Owls Press, 1973).
7. For a discussion ot the authorship of Goody
Two Shoes, see Mary F. Thwaite, From Primer
to Pleasure in Reading, 2d ed. (London: Library
Association, 1972), p. 50.
8. Perrault's manuscript is in the Morgan
Library; see Early Children's Books, p. 111.
9. Quoted in Gillian Avery and Margaret
Kinnell, "Morality and Levity (178O-1820)," in
Hunt, ed.. Children's Literature, p. 69.
10. See Peter Haining, Moveable Books: An
Illustrated History (London: New English
Library, 1979), p. lOfif.
11. See Eric Quayle, The Collector's Book of
Children's Books (London: November Books,
1971), p. 130.
12. For a discussion of Victorian views of
childhood and literature, see Susan E. Meyer, A
Treasury of the Great Children's Book Illustrators
(New York Harry N. Abrams, 1983), p. 13ff.
13. Michael Patrick Hearn, "Discover, Explore,
Enjoy," in Myth, Magic, and Mystery, exh. cat.
(Norfolk, Va.: Chrysler Museum of Arr, Boul-
der, Colo.: Roberts Rinehart Publishers, 1996),
p. 8.
14. The same illustrations were used in 1884 to
illustrate Andrew Lang's Princess Nobody (cat.
no. 345).
15. Meyer, Children's Book Illustrators, p. 27.
16. Crane's contract with Routledge expired in
1876. He went on to work with Evans inde-
pendently and, from 1875 to 1889, illustrated
books in black-and-white by Mrs. Molesworth
(see ibid., p. 88).
17. See ibid., p. 195.
61
u*_i
D
T,
N J
•a
□QDE
*Mli£':
AlJcrson, Brian. The Liulfonl Box and "A
Ciriitmass-Box." Occasional Paper no. 2. Los
Angeles: Department of Special Collections,
University' Research Library, University of
California, 1989.
Apostol, Jane. 0/ive Percival; Los Angeles Author
and Bibliophile. Occasional Paper no. 7. Los
Angeles: Department of Special Collections,
Lfniversity Research Library, University of
Ciilifornia, 1992.
Avery, GllUan. Childhood's Pn/tern: A Sfiidy of
the Heroes and Heroines of Children's Fiction.
1770-1900. London; Hodder and Stoughton,
1975..
Bingham, Jane, and Grayce Scholt. Fifteen
Centuries of Children's Literature: An Annotated
Chronology of British and American Works in
Historical Context. Westport, Conn., and
London: Greenwood Press, 1980.
Carpenter, Humphrey, and Mari Prichard.
The Oxford Companion to Children's Literature.
Oxford: Oxford University Press, 1984.
Cohn, Albert M. George Cruikshank: A
Catalogue Raisonne of the Work Executed during
the Years 1806-1877. 3 vols. London: Office of
"The Bookman's Journal," 1924.
Darton, F.J. Harvey. Children's Books in England:
Five Centuries of Social Life. 3d ed. Revised by
Brian Alderson. Cambridge; Cambridge Uni-
versity Press, 1982.
Engen, Rodney K. Walter Crane as a Book
Illustrator. New York: St. Martin's Press, 1975.
. Randolph Caldecott. London; Oresko
Books, 1976.
. Kate Greenaway. New York: Schocken
Books, 1981.
Gettings, Fred. Arthur Rackham. New York:
Macmillan Co., 1976.
Haining, Peter. Movable Books: An Illustrated
History. London: New English Library, 1979.
Hearn, Michael Patrick, et al. Myth. Magic,
and Mystery: One Hundred Years of American
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